CATALOGUE  OF  THE 
tUGURAL  EXHIBITION 
OF  THE  CLEVELAND 

.  MUSEUM  OF  ART 


THE  CLEVELAND  MUSEUM  OF  ART 


Of  an  illustrated  edition  of 
this  catalogue,  limited  to 
one  thousand  copies,  this  is 

Nn  B47 


Digitized  by  the  Internet  Archive 
in  2008  with  funding  from   ^ 
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http://www.archive.org/details/catalogueofinaugOOclevrich 


THE 

CLEVELAND  MUSEUM 

OF  ART 

CATALOGUE 

OF 

THE  INAUGURAL  EXHIBITION 

JUNE  6~SEPTEMBER  20 
I916 


CLEVELAND 

THE  CLEVELAND  MUSEUM  OF  ART 

1916 


y  ss 


OK, 


COPYRIGHT,  19 1 6,  BY  THE  CLEVELAND 
MUSEUM  OF  ART 


The  Roger  fVilliams  TresSj  Ck'^eland 


CONTENTS 


Officers,  Trustees,  Council  and  Staff 

History 

Introduction 

Ascriptions,  Credits,  Lenders 

Rotunda       Classic  Art  i 

Gallery    i  Colonial  Art  23 

Gallery    1  Gothic  Art  45 

Gallery    3  Renaissance  Art  $2 

Gallery    4  Holden  Collection  of  Italian  Paintings  71 

Gallery    5  Painters.  Dutch  and  Spanish  107 

Gallery    6  Painters.  French  113 

Gallery    7  Painters.  English  119 

Gallery    8  Painters.  American.  XIX  Century  125 

Gallery    9  Painters.  American.  Contemporary  131 

Gallery  10  Freer  Collection.  Lent  by  the  Smithson- 
ian Institution  139 

Gallery  i  i  W.  S.  and  J.  T.  Spaulding  Collection 

of  Japanese  Prints  143 

Gallery  12  The  Art  of  the  Nearer  East  147 

Gallery  13  Chinese  Art  165 

Gallery  14  Japanese  Art  191 

Gallery  15  Ancient  Egyptian  Art  199 

Court  of  Tapestries  and  Armor  227 

Garden  Court  239 

Illustrations,  commencing  243 


349y20 


OFFICERS,  TRUSTEES,  COUNCIL 

AND  STAFF  OF  THE 
CLEVELAND   MUSEUM   OF  ART 


OFFICERS 

President,  William  B.  Sanders 

Vice-Presidents,    J.    H.    Wade,    Charles    W.     Bingham 

Treasurer,  Charles  L.  Murfey  Secretary,  Hermon  A.  Kellcy 

TRUSTEES 

Charles  W.  Bingham  John  H.  Lowman  William  B.  Sanders 

Mariette  Huntington  Samuel  Mather  John  L.  Severance 

Hermon  A.  Kelley  Charles  L.  Murfey  J.  H.  Wade 

Ralph  King  D.  Z.  Norton  Geo.  H.  Worthington 

EXECUTIVE  COMMITTEE 
William  B.  Sanders  J.  H.  Wade  Charles  W,  Bingham 

Hermon  A.  Kelley 

ACCESSIONS  COMMITTEE 
The  President,  ex-officio         The  Director,  ex-ojfficio 
Howard  P.  Eells  Samuel  Mather  D.  Z.  Norton 

Ralph  King  William  G.  Mather  J.  H.  Wade 

MEMBERSHIP   COMMITTEE 
Homer  H.  Johnson  Hermon  A.  Kelley  Amos  B.  McNairy 

ADVISORY  COUNCIL 
The  President  of  Western  Reserve  University 
The  President  of  Case  School  of  Applied  Science 
Charles  F.  Brush  Myron  T.  Herrick  William  G.  Mather 

E.  S.  Burke,  Jr.  Guerdon  S.  Holden  Earl  W.  Oglebay 

H.  G.  Dal  ton  John  H.  Hord  Kenyon  V.  Painter 

Howard  P.  Eells  William  R.  Huntington  James  Parmelee 

Paul  L.  Feiss  Homer  H.  Johnson  Ambrose  Swasey 

Charles  L.  Freer  Edward  A.  Merritt  W.  S.  Tyler 

Leonard  C.  Hanna  Amos  B.  McNairy  Worcester  R.  Warner 

MUSEUM  STAFF 
DIRECTOR  CURATOR 

Frederic  Allen  Whiting  J.  Arthur  MacLean 

ASSISTANT  TO  THE  DIRECTOR  IN  CHARGE  OF  FIELD  WORK 

Olive  Cook  Whiting  Langdon    Warner 

IN  CHARGE  OF  EDUCATIONAL  WORK  SUPERINTENDENT  OF  BUILDING 

Emily  G.  Gibson  James  F.  McCabe 

REGISTRAR  AND  ASSISTANT  SECRETARY 

Frank  J.  Pool 


m   »      •     • 


JOHN  HUNTINGTON 


HISTORY  OF  THE  CLEVELAND 
MUSEUM  OF  ART 


THE  John  Huntington  Art  &  Polytechnic  Trust  is  an  unin- 
corporated Board  of  Trustees,  created  by  the  will  of  the 
late  John  Huntington  "for  the  purpose  of  establishing  and 
maintaining  in  the  City  of  Cleveland,  a  gallery  and  museum  of  art 
for  the  promotion  and  cultivation  of  art  in  said  City." 

The  Horace  Kelley  Art  Foundation  is  a  corporation  under  the 
laws  of  Ohio,  formed  originally  in  1900  under  the  name  of  The 
Cleveland  Museum  of  Art,  pursuant  to  the  directions  of  the  will 
of  the  late  Horace  Kelley,  for  the  purpose  of  "promoting  the  fine 
arts",  and  to  this  end,  of  building  and  carrying  on,  with  the  fund 
provided  under  Mr.  Kelley's  will  and  with  the  assistance  of  such 
other  donations  as  may  accrue  to  it,  a  Museum  of  Art  and  an  in- 
stitution for  the  promotion  of  art. 

Owing  to  the  fact  that  neither  Mr.  Huntington  nor  Mr.  Kelley 
knew  of  the  gift  of  the  other,  the  funds  provided  for  art  purposes 
under  their  respective  wills  were  left  to  wholly  independent  sets  of 
trustees  under  conditions  which  made  their  legal  amalgamation  im- 
possible. For  many  years,  legal  difficulties  seemed  to  present  an 
insuperable  obstacle  even  to  a  working  combination  between  the 
two  trusts.  At  length,  however,  an  agreement  was  reached  between 
the  John  Huntington  Art  &  Polytechnic  Trust  and  The  Horace 
Kelley  Art  Foundation  whereby  a  single  building  was  to  be  erected 
by  the  two  trusts,  and  while  the  parts  of  this  building  were  to  be 
susceptible  of  separate  legal  control,  the  outward  result,  so  far  as 
the  public  is  concerned,  would  be  a  single  institution. 

As  a  part  of  this  plan,  the  corporation  which  had  been  formed 
by  the  Kelley  trust  under  the  name  of  "The  Cleveland  Museum  of 
Art"  relinquished  this  name  and  took  the  name  of  "The  Horace 
Kelley  Art  Foundation".  A  new  corporation  was  then  organized 
under  the  name  of  "The  Cleveland  Museum  of  Art"  for  the  pur- 
pose of  administering  the  Museum  which  was  to  be  erected  by  the 
Huntington  and  Kelley  trusts.  The  Articles  of  Incorporation  of  the 
new  "The  Cleveland  Museum  of  Art"  embraced  purposes  of  a 
very  broad  nature,  empowering  it  to  build  and  maintain  an  Art 
Museum,  to  receive  gifts  and  bequests  of  art  objects,  to  receive, 
hold  and  administer  funds  and  trusts  for  art  purposes,  and  to  carry 
on  educational  work. 


While  the  John  Huntington  Art  &  Polytechnic  Trust  and  The 
Horace  Kelley  Art  Foundation  will  continue  to  appropriate  funds 
from  their  respective  endowments  for  the  support  and  maintenance 
of  the  Museum,  the  administration  of  these  funds  will  be  in  the 
hands  of  The  Cleveland  Museum  of  Art.  With  the  gifts  to  the 
latter  institution  which  have  already  been  made  and  which  are 
confidently  expected  in  the  future  The  Cleveland  Museum  of  Art 
will  doubtless  hold  at  no  distant  date  a  large  endowment  of  its  own 
independently  of  the  trusts  which  originally  created  it. 

In  addition  to  the  funds  provided  by  Mr.  Huntington  and  Mr. 
Kelley,  a  bequest  for  similar  purposes  was  made  by  the  late  Hin- 
man  B.  Hurlbut,  and  it  was  the  original  intention  of  the  Trustees 
of  the  three  estates  to  co-operate  in  the  erection  of  a  tripartite  build- 
ing. With  this  purpose  in  view  a  Building  Committee  was  formed, 
as  early  as  1905,  of  which  the  late  Liberty  E.  Holden  was  Chair- 
man, and  plans  were  prepared.  Upon  the  death  of  Mrs.  Hurlbut, 
however,  it  was  discovered  that  the  Hurlbut  Estate  would  not  be 
able  to  provide  funds  sufficient  to  enable  its  Trustees  to  participate 
in  the  construction  of  the  Museum  building.  It,  therefore,  became 
necessary  to  abandon  the  plans  for  a  tripartite  Museum,  and  to 
formulate  new  plans  which  could  be  carried  out  with  the  resources 
of  the  Huntington  and  Kelley  Trusts;  these  were  appropriated 
to  the  work  in  the  proportions  of  seven-tenths  and  three-tenths 
respectively. 

The  second  Building  Committee  consisting  of  Charles  W. 
Bingham,  WiUiam  B.  Sanders,  J.  H.  Wade,  George  H.  Worthington 
and  Hermon  A.  Kelley,  was  thereupon  formed.  New  plans  having 
been  completed,  work  was  commenced  on  the  present  building,  on 
a  site  in  Wade  Park,  presented  by  Mr.  J.  H.  Wade  in  May,  19 13. 
The  building  was  formally  turned  over  to  the  Trustees  of  The 
Cleveland  Museum  of  Art  on  June  6,  19 16. 

The  Cleveland  Museum  of  Art  was  formally  dedicated  to  the 
great  work  it  is  to  accomplish  in  the  world,  on  Tuesday,  June  6, 19 16. 

At  four  o'clock  on  the  afternoon  of  that  day  the  members  and 
distinguished  guests  from  other  cities  gathered  at  the  invitation  of 
the  President  and  Trustees  in  the  Lecture  Hall  of  the  Museum, 
where  they  were  addressed  by  the  Hon.  William  B.  Sanders,  Presi- 
dent, who  announced  the  completion  of  the  building  and  its  formal 
opening  as  a  Museum  of  Art.  After  briefly  reviewing  the  origins 
and  progress  of  the  Institution  and  its  hopes  and  intentions  for  the 
future,  the  President  introduced  Mr.  Charles  L.  Hutchinson,  Presi- 
dent of  the  Art  Institute  of  Chicago  who  brought  the  greetings  and 
congratulations  of  that  city  to  the  citizens  of  Cleveland. 


/. :  ' 


HORACE  KELLEY 


Judge  Sanders  then  announced  the  more  important  of  the 
numerous  gifts  and  benefactions  with  which  the  new  Museum  has 
been  endowed: 

Mrs.  L.  E.  Holden's  gift  of  her  memorable  collection  of 
paintings. 

Mrs.  Dudley  P.  Allen's  gift  of  the  Dido  and  JEncsLs  series  of 
eight  tapestries  from  the  Barberini  Palace. 

Mr.  Worcester  R.  Warner's  gift  of  funds  to  establish  a  col- 
lection of  Oriental  art  to  bear  his  name. 

Mr.  and  Mrs.  John  L.  Severance's  gift  of  a  remarkable  collec- 
tion of  armor. 

Mr.  and  Mrs.  J.  H.  Wade's  gift  of  lace,  textiles,  jewelry,  fans, 
snuff  boxes,  vinaigrettes,  etc.,  the  result  of  years  of  discriminating 
collecting. 

Mr.  and  Mrs.  Ralph  King's  gift  of  objects  of  Oriental  art. 

Mrs.  John  Huntington's  contribution  of  the  notable  group  of 
marble  garden  ornaments  from  Boscoreale. 

Mr.  David  Z.  Norton's  gift  of  a  collection  of  fifty-four  Japanese 
inro  and  netsuke. 

And  many  other  collections.  He  also  mentioned  the  Oriental 
Expedition  Fund,  which  by  enabling  the  Cleveland  Museum  of 
Art  to  send  an  expedition  into  the  field,  at  once  places  it  in  the 
front  rank  of  such  institutions. 

He  then  presented  successively  to  the  audience  Mr.  John  R.  Van 
Derlip,  President  of  the  Minneapolis  Institute  of  Arts;  Mr.  Henry 
W.  Kent,  Secretary  of  The  Metropolitan  Museum  of  Art,  of  New 
York;  Mr.  Evans  Woollen,  President  of  The  John  Herron  Art 
Institute  of  Indianapolis;  Mr.  Charles  B.  Sears,  President  of  The 
Albright  Art  Gallery  of  Buffalo,  all  of  whom  felicitously  showered 
blessings  upon  the  newest  addition  to  the  museums  of  the  country. 

The  proceedings  terminated  with  a  rising  vote  of  congratu- 
lation to  the  Director,  F.  Allen  Whiting,  on  the  achievement  of  the 
work,  which  he  acknowledged  briefly. 

In  the  evening,  from  eight-thirty  until  eleven  o'clock,  a  re- 
ception was  held  in  the  galleries  and  was  largely  attended.  The 
guests  of  the  Museum  were  received  by  the  Director  and  theTrustees 
and  their  wives,  in  the  Court  of  Tapestries  and  Armor. 

At  nine  o'clock  on  the  morning  of  Wednesday,  June  yth,  the 
building  and  its  contents  were  thrown  open  to  the  general  public. 


THE  JOHN  HUNTINGTON  ART  AND  POLYTECHNIC  TRUST 
Charles  W.  Bmgham  Samuel  Mather  William  B.  Sanders 

Mrs.  John  Huntington  William  G.  Mather  J.  H.  Wade 

J.  H.  Lowman  Charles  L.  Murfey  Geo.  H.  Worthmgtoa 


THE  HORACE  KELLEY  ART  FOUNDATION 
Charles  W.  Bmgham  A.  B.  McNairy  William  B.  Sanders 

Hermon  A.  Kelley  Samuel  Mather  J.  H.  Wade 

J.  H.  Lowman  Charles  L.  Murfey  Geo.  H.  Worthington 

D.  Z.  Norton 


BUILDING  COMMITTEE 

Charles  W.  Bingham,  Chairman 

Hermon  A.  Kelley  William  B.  Sanders  J.  H.  Wade 

George  H.  Worthington 

COMMITTEE  ON  LIGHTING 

Edward  P.  Hyde,  Chairman 
W.  W.  Batson  E.  J.  Edwards  M.  Luckiesh  J.  A.  MacLean 

S.  E.  Doane  W.  Harrison  W.  R.  McCormack       F.  A.  Whiting 

The  Building  Committee  appointed  the  following  to  carry  out  the  work: 

ARCHITECTS 
Hubbell  &  Benes,  Cleveland 

ENGINEERS 
Hollis  French  and  Allen  Hubbard,  Boston 

GENERAL  CONTRACTORS 

Crowell-Lundoff-Little  Company,  Cleveland 

OWNERS'  SUPERINTENDENT 
Victor  E.  Thebaud 

CONTRACTORS'  SUPERINTENDENT 
H.  F.  Gilman 

SECRETARY  OF  THE  BUILDING  COMMITTEE 
F.  Allen  Whiting 

Acknowledgement  for  services  rendered  are  also  due  to  the  late  Liberty  E.  Holden, 
former  Chairman  of  the  Building  Committee,  Henry  W.  Kent,  New  York,  former 
Secretary  of  the  Building  Committee;  the  late  Edmund  B.  Wheelwright,  Boston, 
Consulting  Architect;  and  many  others. 


INTRODUCTION 


THIS  Exhibition  is  brought  together  to  celebrate  as  adequate- 
ly as  possible  an  event  to  which  the  people  of  Cleveland 
have  been  looking  forward  for  about  a  decade.  It  was  a 
notable  indication  of  stirrings  already  at  work  in  the  community 
when  John  Huntington  and  Horace  Kelley  and  Hinman  B.  Hurl- 
but  each  provided  by  will  for  the  estabhshment  of  a  Museum  of 
Art  in  Cleveland. 

The  story  of  the  difficulties  encountered  in  working  out  plans 
for  a  combined  Museum  need  not  be  gone  into  here.  Tribute 
should  however  be  paid  to  the  foresight  and  courage  of  the  men 
who,  acting  as  Trustees  under  the  three  wills,  and  despite  much 
unpleasant  criticism,  steadfastly  deferred  building  until  the  legal 
complications,  which  made  the  erection  of  a  joint  building  seem 
for  some  time  impossible,  were  overcome,  and  until  the  funds  avail- 
able could  accumulate  sufficiently  to  insure  the  erection  of  a  build- 
ing quite  adequate  for  its  purpose  and  capable  of  housing  the  far- 
reaching  Museum  and  educational  activities  which  the  imagination 
of  the  donors  had  conceived. 

The  gift  of  a  beautiful  lot  in  Wade  Park  by  Mr.  and  Mrs.  J. 
H.  Wade  solved  most  satisfactorily  the  question  of  location.  The 
appointment  of  a  local  firm  of  architects,  Messrs.  Hubbell  and  Benes 
to  prepare  plans  in  consultation  with  the  late  Edmund  B.  Wheel- 
wright of  Boston  proved  but  the  beginning  of  years  of  study  and 
planning  which  have  culminated  in  the  beautiful  building  which  is 
now  available  for  the  benefit  and  pleasure  of  the  public. 

The  Building  contract  was  let  to  the  Crowell-Lundoff-Little 
Company  on  May  22,  1913,  work  started  immediately,  and  has 
progressed  steadily  despite  delays  caused  by  the  unusual  conditions 
incident  to  the  war. 

The  Building  Committee  was  also  fortunate  in  the  cooperation 
of  a  committee  of  lighting  experts,  under  the  Chairmanship  of 
Dr.  Edward  P.  Hyde,  Director  of  the  Nela  Park  Laboratory  of 
the  National  Lamp  Works,  which  gave  serious  study  to  the  problem 
of  Hghting  the  exhibition  floor  of  the  building.  After  the  full  Com- 
mittee had  decided  on  the  general  principles  of  the  installation 
the  actual  work  was  carried  out  by  a  sub-committee  consisting  of 


Messrs.  Evan  J.  Edwards,  Ward  Harrison  and  M.  Lukeish,  who 
did  the  larger  part  of  the  work  and  whose  recommendations  were 
submitted  to  the  full  committee  for  approval. 

It  is  a  source  of  satisfaction  that  the  building  has  been  designed 
and  constructed  by  Cleveland  men,  and  it  is  believed  that  the  com- 
munity has  every  reason  to  be  proud  of  the  result. 

A  notable  fact  connected  with  the  opening  of  the  Museum  is 
the  splendid  support  which  Cleveland  art  lovers  are  bestowing  in 
advance  of  the  opening,  welcome  evidence  of  the  keen  interest  which 
is  taken  in  the  new  Museum  and  speaking  well  for  its  permanent 
success  and  usefulness. 

Attention  is  called  to  the  fact  that  many  of  the  objects  shown 
are  for  sale  and  were  secured  in  the  hope  that  friends  might  be  in- 
terested to  acquire  them  as  gifts  to  the  Museum. 

It  should  be  stated,  also,  that  the  Trustees  have,  except  in  a 
few  unusual  cases,  borrowed  nothing  from  the  rich  collections  owned 
in  Cleveland,  it  having  seemed  wiser  to  defer  the  opportunity  to 
show  local  treasures  until  a  later  date. 


ASCRIPTIONS 


In  the  case  of  works  of  art  lent  for  the  Inaugural  Exhibition 
the  ascriptions,  both  of  date  and  authorship,  furnished  by  the 
owners  have  been  adopted  in  this  catalogue. 


WEST  END 


CREDITS 


THE  Cleveland  Museum  of  Art  is  especially  indebted  to  Dr. 
Bashford  Dean  for  his  services  in  connection  withthe  installa- 
tion of  the  collection  of  Armor,  as  without  his  co-operation  it 
would  have  been  impossible  to  have  the  room  in  readiness  for  the 
opening. 

Special  thanks  are  also  due  to  Mr.  Hollis  French  for  securing 
the  important  collection  of  early  American  silverware  and  prepar- 
ing the  descriptions  and  the  introduction  to  the  Silver  section. 

Mr.  Francis  C.  Jones  gave  invaluable  assistance  in  connection 
with  the  exhibition  of  Paintings  by  Contemporary  American  Artists. 

In  addition  to  those  who  have  lent  the  many  splendid  objects 
of  art  which  so  greatly  add  to  the  importance  of  the  exhibit,  the 
Museum  is  indebted  to  the  officials  connected  with  other  Museums 
who  have  given  freely  invaluable  assistance,  which  has  enhanced 
the  success  of  the  Inaugural  Exhibition. 

Mr.  M.  H.  Horvath  has  contributed  his  expert  advice  and  assist- 
ance in  the  selection  and  securing  of  plants  for  the  Garden  Court, 
for  which  purpose  plants  have  been  given  by  Mrs.  Harvey  Cushing 
of  Brookhne,  Massachusetts,  Mr.  John  L.  Severance  and  others, 
and  Mr.  Kenyon  V.  Painter  has  contributed  the  birds  and  cages. 

The  catalogue  has  been  prepared  under  the  general  direction 
of  Mr.  Edward  Hamilton  Bell  who  contributed  the  sectional  intro- 
ductions and  the  descriptions  with  the  following  exceptions: 

Mr.  Hollis  French  prepared  the  introduction  and  the  descrip- 
tions for  the  Colonial  Silver  section;  Miss  Stella  Rubinstein  was 
employed  to  prepare  the  catalogue  of  the  Holden  collection,  in 
which  she  had  the  benefit  of  Mr.  Henry  W.  Kent's  criticism;  and 
Dr.  Bashford  Dean  contributed  the  notes  on  the  Armor  Collection. 

The  Director  takes  especial  pleasure  in  expressing,  in  behalf 
of  the  Trustees,  the  heartiest  appreciation  of  the  splendid  spirit 
with  which  the  staff  of  the  Museum,  both  the  regular  employees 
and  those  temporarily  engaged  for  extra  work,  have  applied  them- 
selves to  a  big  task,  with  results  which  are  manifest. 

To  the  following  the  Museum  is  under  special  obligations  for 
loans  of  the  important  objects  embracing  a  large  part  of  the  exhibit: 


LENDERS 


Ainslie,  Mr.  George  H.,  New  York. 

Bahr,  Mr.  A.  W.,  New  York. 

Bevan,  Mrs.,  England. 

Blair,  Mrs.  Chauncey  J.,  Chicago. 

Blaney,  Mr.  Dwight,  Boston. 

Brooklyn  Museum,  The,  Brooklyn. 

Canessa,  Sig.  A.,  New  York. 

City  Art  Museum  of  St.  Louis,  The. 

Coolidge,  Mr.  Baldwin,  Boston. 

Coolidge,  Mr.  J.  Templeman,  Boston. 

Copley  Gallery,  The,  Boston. 

Corcoran  Gallery  of  Art,  The,  Washington. 

Creelman,  Mrs.  James,  New  York. 

Daguerre,  M.  Henry,  Paris. 

David  Gallery,  The,  New  York. 

Dearth,  Mr.  Henry  Golden,  New  York. 

de  Forest,  Mr.  Lockwood,  Santa  Barbara. 

Dreicer,  Mr.  Michael,  New  York. 

Duveen  Brothers,  Messrs.,  New  York. 

Ehrich  Galleries,  The,  New  York. 

Evans,  Mrs.  Robert  Dawson,  Boston. 

Faust,  Mr.  Edward  A.,  St.  Louis. 

Fenollosa,  Mrs.  E.  F.,  Cambridge. 

Freer,  Mr.  Charles  L.,  Detroit. 

French,  Mr.  Hollis,  Boston. 

French,  Messrs.  P.  W.  and  Company,  New  York. 

Gilder,  Miss  Francesca,  New  York. 

Goode,  Mrs.  M.  Cameron,  New  York. 

Gorham  Company,  The,  New  York. 

Hackley  Gallery  of  Fine  Arts,  The,  Muskegon. 

Herrick,  Mrs.  Myron  T.,  Cleveland. 

Hodgkins,  Mr.  E.,  New  York. 


LENDERS 

Holland  Galleries,  The,  New  York. 

Huidekoper,  Mr.  Prescott,  Romney,  West  Virginia. 

Hutchinson,  Mr.  Charles  L.,  Chicago. 

John  Herron  Art  Institute,  The,  Indianapolis. 

Kelekian,  Mr.  Dikran  G.,  New  York. 

Kennedy,  Mr.  E.  G.,  New  York. 

Kevorkian,  Mr.  H.,  New  York. 

Kleinberger  Galleries,  The  F.,  New  York. 

Knoedler,  M.,  and  Company,  New  York. 

Kuroda,  Mr.  Takuma,  Tokyo. 

Lewis  and  Simmons,  Messrs.,  New  York. 

Libbey,  Mr.  Edward  Drummond,  Toledo. 

Lincoln,  Mrs.  Roland  C,  Forest  Hills,  Massachusetts. 

Logan,  Mr.  Frank  G.,  Chicago. 

Long,  Mr.  Breckenridge,  St.  Louis. 

Loo,  Mr.  Ching  Tai,  New  York. 

Macbeth,  Mr.  William,  New  York. 

McGurk,  Mr.  Jonce  I.,  New  York. 

Mallon,  M.  Paul,  Paris. 

Millet,  Mrs.  Frank  D.,  New  York. 

Moore,  Mr.  Frederick,  New  York. 

Painter,  Mr.  Kenyon  V.,  Cleveland. 

Palmer,  Mr.  George  S.,  New  London. 

Parker,  Mrs.  Orrel  A.,  New  York. 

Pedersen,  Prof.  Frederick  M.,  New  York. 

Pell,  Mrs.  Stephen,  New  York. 

Peters,  Mr.  Samuel  T.,  New  York. 

Reuling,  Mrs.  George,  Baltimore. 

Reinhart  and  Son,  Messrs.  H.,  New  York. 

Rogers,  Miss  A.  P.,  Boston. 

Rosenthal,  Mr.  Albert,  Philadelphia. 

St.  John,  Miss  Agnes,  Boston. 

Schultze,  Mr.  Paul,  Chicago. 

Schweiger,  Mr.  Imre,  London. 

Sears,  Miss  Mary  Crease,  Boston. 


LENDERS 

Secor,  Mr.  J.  K.,  Toledo. 
Severance,  Mr.  John  L.,  Cleveland. 
Smithsonian  Institution,  The,  Washington. 
Snedecor  and  Company,  New  York. 
Stambaugh,  Mr.  H.  H.,  Youngstown,  Ohio. 
Spaulding,  Mr.  W.  S.,  Boston. 
Spaulding,  Mr.  J.  T.,  Boston. 
Tarkington,  Mr.  Booth,  Indianapolis. 
Thaw,  Mrs.  Benjamin,  New  York. 
Tudor,  Mrs.  Frederic,  Boston. 
Van  DerHp,  Mrs.  John  R.,  Minneapolis. 
Vose,  Messrs.  R.  C.  and  N.  M.,  Boston. 
Warner,  Mr.  Joseph  B.,  Boston. 
Warner,  Mr.  Langdon,  Boston. 
Wetzel,  Mr.  Hervey  E.,  Boston. 
Whitin,  Mrs.  G.  M.,  Whitinsville,  Massachusetts. 
Whittemore,  Mr.  Harris,  Naugatuck,  Connecticut. 
Winthrop,  Mr.  Grenville  L.,  New  York. 
Worcester  Art  Museum,  The,  Worcester. 
Yamanaka  and  Company,  Messrs.,  New  York 
and  Boston. 

Frederic  Allen  Whiting,  Director 


SUBSCRIBERS  TO  THE  INAUGURAL 
EXHIBITION  FUND 


THE  Cleveland  Museum  of  Art  wishes  to  acknowledge  its 
special  gratitude  to  the  following  subscribers  to  the  In- 
augural Exhibition  Fund,  since  their  generosity  alone  made 
possible  the  splendid  exhibition  of  which  this  catalogue  is  a  perma- 
nent record.  The  entire  expenses  of  the  exhibition  and  of  the  cata- 
logue were  borne  by  the  following,  in  proportion  to  the  amount 
subscribed  by  each. 


Mrs.  Dudley  P.  Allen 
Charles  W.  Bingham 
Charles  F.  Brush 
E.  S.  Burke,  Jr. 
Henry  G.  Dalton 
Howard  P.  Eells 
Paul  L.  Feiss 
L.  C.  Hanna 
Mrs.  Henry  R.  Hatch 
Mrs.  John  Huntington 
Homer  H.  Johnson 
Hermon  A.  Kelley 
Ralph  King 
Dr.  John  H.  Lowman 


Amos  B.  McNairy 
Samuel  Mather 
William  G.  Mather 
Edward  A.  Merritt 
Charles  L.  Murfey 
D.  Z.  Norton 
Earl  W.  Oglebay 
James  Parmelee 
William  B.  Sanders 
John  L.  Severance 
Ambrose  Swasey 
W.  S.  Tyler 
J.  H.  Wade 
George  H.  Worthington 


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ROTUNDA  LOOKING  INTO  GALLERY  I 

BOSCOKKALK  MARBLES  IN  KOREGROUNU 


ROTUNDA— CLASSIC  ART 


SINCE  the  brilliant  discoveries  in  the  Island  of  Crete  by  Sir 
Arthur  Evans  and  his  fellow  explorers,  we  have  had  to  revise 
our  theories  as  to  the  origins  of  Greek  art. 

The  work  of  the  earliest  days  is  now  divided  into  the  ^gean 
Period,  from  about  3000  to  2000  B.C.,  and  the  Minoan,  from  about 
2000  to  1000  B.C.,  (this  is  the  art  of  the  civilization  discovered  in 
Crete);  the  Mycenaean  Period,  from  about  1500  to  iioo  B.C., 
first  made  known  by  the  excavations  of  Schlieman,  seems  to  have 
been  the  decadence  of  the  Minoan. 

This  civilization,  which  is  that  recorded  in  the  Homeric 
Epics,  was  obliterated  by  the  Dorian  invasion  of  warlike  tribes  from 
the  mountainous  regions  to  the  north  of  Greece,  in  about  iioo 
B.C.  Refugees  from  this  catastrophe  fled  to  the  Greek  islands, 
and  to  the  coasts  of  Asia  Minor  and  Syria,  where  they  must  have 
found  lingering  offshoots  of  the  Minoan  tradition,  in  whose  com- 
pany they  kept  alight,  though  smoldering,  the  spark  which  was  to 
produce  Greek  art. 

During  the  dark  ages  which  succeeded  various  oriental  influ- 
ences made  themselves  felt  in  these  communities,  and  can  be  rec- 
ognized in  the  pottery,  to  which,  in  the  comparative  dearth  of 
sculpture,  we  have  to  turn  for  light  to  guide  us  through  the  gloom. 

The  revival  of  Greek  art  apparently  took  place  in  the  Seventh 
century  B.C.  though  the  earliest  known  purely  Greek  statue,  about 
620  B.C.,  is  more  primitive  than  the  earliest  Egyptian  statues, 
which  it  somewhat  resembles. 

By  the  middle  of  the  Sixth  century  B.C.,  Archaic  Greek  art 
had  shaken  off  these  trammels  and  was  awake  and  alive.  The 
phrase  is  used  advisedly,  as  vitality  is  the  dominant  characteristic 
even  of  its  prehistoric  forbears.  It  is  distinguished  above  all  arts 
for  the  representation  of  physical  life,  from  the  first,  and  as  the 
skill  of  its  practitioners  developed,  of  spiritual  life. 

No  event  in  the  history  of  art,  perhaps  in  the  history  of  hu- 
manity, presents  such  an  astounding  phenomenon  as  the  rapid  rise 
to  perfection  of  Greek  sculpture.  In  about  550  B.C.,  though 
awake  and  alive,  it  was  still  archaic  to  a  very  marked  degree,  and 
by  435  the  most  consummate  triumph  in  this  field,  if  not  in  all 
art,  was  achieved  and  the  Parthenon  dedicated. 


THE  CLEVELAND  MUSEUM 

All  we  know  of  the  date  of  the  lovely  archaic  Orantes  of  the 
Acropolis  at  Athens,  is  that  they  must  be  earlier  than  the  destruc- 
tion of  the  temples  on  that  citadel  by  the  Persians  in  480  B.C. 
Their  similarity  to  the  caryatids  of  the  Treasury  of  the  Cnidians 
at  Delphi,  dedicated  about  530,  gives  us  reason  to  think  that  they 
may  be  as  early  as  this  date,  but  surely  not  earlier. 

The  iEginetan  Pediments,  still  archaic,  belong  to  the  decade 
between  480  and  470.  Those  of  the  temple  of  Zeus  at  Olympia,  hardly 
archaic  now,  but  still  stiff  and  formal,  to  about  the  year  460,  in  which 
year  Pericles  became  leader  in  Athens,  shortly  before  the  Parthe- 
non was  begun.  The  Nike  of  Paonios  celebrates  a  victory  won  in 
454;  and  then  came  the  Parthenon  sculpture. 

In  the  Fourth  century  B.C.  the  change  in  Greek  spirit  brought 
about  a  corresponding  modification  in  the  arts.  This  has  been 
well  defined  by  Salomon  Reinach  who  calls  the  work  of  the  great 
Fifth  century  "serene,"  and  that  of  the  Fourth  "emotional." 
This  perfectly  describes  the  spirit  of  Praxiteles,  born  about  380,  as 
does  the  epithet  "passionate"  applied  by  him  to  the  work  of  Scopas. 

Another  change  is  to  be  felt  in  the  work  of  the  sculptors  of  the 
time  of  Alexander  the  Great,  356-323  B.C.,  and  their  successors 
at  Rhodes  and  Pergamos.  Their  forte  lay  in  the  expression  of  an- 
guish. The  sculptors  of  the  Alexandrian  school  developed  the  art 
of  portraiture,  and  carried  realism  as  far  as  the  classic  spirit  would 
permit.  This  period,  from  the  time  of  Alexander  to  the  subjection 
of  Greece  by  the  Roman  conquest,  about  the  beginning  of  the 
Christian  era,  is  known  as  the  Hellenistic. 

The  Romans  transported  to  Italy  not  merely  all  the  removable 
works  of  art  but  the  Greek  artists  themselves,  and  classic  art  lin- 
gered on  in  the  Empire,  with  many  briUiant  flashes  of  genius,  until 
Rome,  too,  fell,  and  the  capital  of  the  world  was  transferred  to 
Byzantium. 

The  classic  painting  of  the  great  period  has  entirely  disappear- 
ed, and  what  remains  to  us,  admirable  as  much  of  it  is,  is  of  slight 
importance  and  late  date.  The  famous  painted  vases  show  us  what 
consummate  draughtsmen  were  the  Greek  painters,  but  we  have 
very  little  means  of  judging  their  power  as  colorists. 

Painted  pottery,  an  art  in  which  the  Greeks  always  excelled, 
is  known  to  us,  of  all  periods,  from  the  Late  Minoan  times,  about 
1600  B.C.,  in  almost  unbroken  sequence,  to  about  280  B.C.,  when 
the  manufacture  of  this  type  of  vase  gave  place  to  that  decorated 
with  reliefs  and  made  in  moulds. 


ROTUNDA  LOOKING  INTO  COURT  OF  TAPESTRIES  AND  ARMOR 


CLASSIC  ART 

About  750  B.C.  the  type  of  vase  known  as  Corinthian  ap- 
peared, with  figures  and  animals  arranged  in  frieze-like  bands,  in 
brown,  white,  black  and  violet  on  a  light  buff  ground.  The  vases 
with  black  figures  painted  on  a  red  ground,  were  made  from  about 
600  to  500  B.C.,  to  be  displaced  for  about  a  century  following  by 
those  with  red  figures  on  a  black  ground.  These  two  kinds  of  vases 
were  made  in  Athens  during  these  two  hundred  years,  even  those 
found  in  Italy  and  therefore  called  Etruscan. 

After  this  time  vases  were  made  in  southern  Italy,  but  the 
painted  vases  ceased  to  be  made,  even  there,  after  about  280  B.C. 

Greek  sculptors  worked  in  terra-cotta,  as  well  as  in  marble 
and  bronze.  The  famous  Tanagra  Figurines  were  made  in  the 
Fourth  century,  and  those  found  at  Myrina,  in  Asia  Minor,  in 
the  Hellenistic  period,  but  they  were  made  elsewhere  in  the  Greek 
world. 

The  coins  of  the  Greek  communities  are  among  the  most  beau- 
tiful of  classic  works  of  art.  The  finest  were  produced  in  Sicily  in 
the  second  half  of  the  Fifth  century. 

One  of  the  oldest  of  the  finer  arts  is  engraving  on  stones  and 
gems;  intaglios  exist  of  nearly  every  period  of  art,  and  they  have 
thrown  great  light  upon  the  study  of  Greek  sculpture,  the  highest 
triumphs  of  which  they  all  but  equal.  Classic  jewelry  and  metal 
work  is  of  the  same  splendid  quality. 

PERIODS  OF  CLASSIC  ART 

i^gean  Period 
Minoan  Period 
Mycenaean  Period 
Dorian  Invasion 
Archaic  Period 
Transitional  Period 

Great  A^e  \   ^  Century 
UreatAge  |iy  Century 

Hellenistic  Period 

Greco- Rom  an  Period 

Rome  ceased  to  be  the  capital  of  the  Empire 


About 

3000  B.C. 

2000 

1500 

1 100 

625 

480 

450 

400 

npire 

350 
146 
330  A.D 

THE  CLEVELAND  MUSEUM 

SIX  PIECES  OF  GARDEN  SCULPTURE. 

Marble. 

1  Fountain  Basin  borne  by  a  caryatid  of  a  laughing  satyr. 

2  Four  terms  each  topped  by  a  double-headed  Bacchus. 

3  Table  with  hippogriff  legs;  in  the  centre  of  each  is  a  bas- 

relief  of  fighting  goats. 

From  the  peristyle  of  the  villa  of  Rectina,  wife  of  Cassius 

Bassus,  the  lyric  poet  and  friend  of  Pliny. 

Greco-Roman.     I  Century  A.D. 

Gift  of  Mrs.  John  Huntington. 

4  FRAGMENT  OF  A  CIRCULAR  ALTAR  OR  A  WELL 
CURB. 

Marble.  In  bas-relief  Hermes  and  Pallas  Athena,  facing 
left.  Found  in  Corfu.  From  the  Nani  Collection  in  Venice. 

Hellenistic.  III-I  Century  B.C. 

The  John  Huntington  Collection. 

5  FRAGMENT  OF  A  BAS-RELIEF. 

Stone.  Head  of  an  Assyrian  King,  perhaps  Ashur-bani-pal, 
668-626  B.C.  From  Nineveh. 

Assyrian.  About  VIII  Century  B.C. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

6  FIGURINE. 

Terra-cotta.  Winged  figure  carrying  a  Kithara. 

Myrina  in  Asia  Minor.   Hellenistic  Period.    III-I  Cen- 
tury B.C. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

7  FIGURINE. 

Terra-cotta.  Flying  Eros,  with  a  comic  mask. 
Myrina.  Hellenistic  Period.  III-I  Century  B.C. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

8  FIGURINE. 

Terra-cotta.  Flying  Eros,  with  a  torch  in  each  hand. 
Myrina.  Hellenistic  Period.  III-I  Century  B.C. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

9  FIGURINE. 

Terra-cotta.  Flying  Eros,  with  a  golden  fruit  in  each  hand. 
Myrina.  Hellenistic  Period.  III-I  Century  B.C. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 


CLASSIC  ART 

10  FIGURINE. 

Terra-cotta.  Dancing  Eros. 

From  Myrina.  Ill  Century  B.C. 

Gift  of  Mr.  Harold  Woodbury  Parsons. 

11  GOLD  FIGURINE.  EROS. 

Greek.  Hellenistic. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

12  HEAD  OF  APHRODITE. 

Marble.  Alexandrian  school. 
Greek.   Hellenistic  Period. 
Bequest  of  Liberty  E.  Holden. 

13  FRAGMENT  OF  A  MOULD  FOR  MAKING  AN  AR- 
RETINE  BOWL. 

Terra-cotta.  Subject,  a  banquet.  Two  men  reclining  are 
waited  on  by  two  maids;  a  female  musician  reclines  below 
them,  holding  a  lyre.  Above  hangs  a  horseshoe-shaped  gar- 
land. Signed  M.  PERENN  TIGRAN. 

These  moulds  were  used  for  making  the  famous  Arre- 
tine  pottery  in  which  the  ornament  is  in  relief  on  the  out- 
side of  the  vessel.  The  moulds  were  made  by  the  use  of 
stamps  in  different  combinations.  They  are  very  scarce 
and  of  great  interest.  M.  Perennius  was  a  master-potter  of 
Arrezo.  Tigranes  was  probably  the  Greek  slave  potter 
who  did  the  work. 

Roman.  Probably  between  100  B.C.  and  100  A.D. 

The  John  Huntington  Collection. 

14  FRAGMENT  OF  A   MOULD   FOR   AN  ARRETINE 
BOWL. 

Terra-cotta.  Two  of  the  same  figures  as  appear  in  the 
previous  example,  but  grouped  differently. 

Roman.  Probably  between  100  B.C.  and  100  A.D. 

The  John  Huntington  Collection. 

15  VASE. 

Red  figures  on  a  black  ground.  Religious  scene. 
Found  at  Capua.  II  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 


THE  CLEVELAND  MUSEUM 

1 6  FRAGMENTS  OF  PAINTED  VASES. 

Pottery.  Black  on  red.  Earliest  type;  first  made  from 
about  600-500  B.C.  From  the  Necropolis  of  Ferentum 
(Viterbo). 

Greek.  Probably  made  in  Italy  ante  280  B.C. 

The  John  Huntington  Collection. 

17  HEAD  OF  HERCULES. 

Marble. 

Hellenistic  Period.  III-I  Century  B.C. 
The  John  Huntington  Collection. 

18  VASE. 

Red  figures  on  a  black  ground.  On  one  side  Apollo. 
II  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 

19  LEKYTHOS. 

Pottery.  For  deposition  in  tombs.  Decorated  with 
friezes  of  animals,  incised  and  filled  with  red  and  black 
on  a  yellow  background. 

Greek,  Corinthian.  VIII  to  VI  Century  B.C. 

The  John  Huntington  Collection. 

20  VASE. 

Black  figures  on  a  red  ground.  Combat. 
V  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 

21  KANTHAROS. 

Pottery.  Black  ware,  with  fluted  body. 
Greek. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

22  VASE. 

Red  figures  on  a  black  ground.  Armed  warrior  and  vestal. 
IV  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 

23  ASKOS. 

Pottery.  Wine  jar  with  cover.  Pinkish  buff.  Painted  with 
black,  red  and  white.  Two  handles;  three  mouths,  one 
pierced  with  a  rose  for  straining. 

Apulia  IV  or  III  Century  B.C. 

The  John  Huntington  Collection. 

6 


CLASSIC  ART 

24  VASE. 

Blown  glass.  Decorated  with  glass  threads.  Green. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

25  VASE. 

Blown  glass.  Greenish  with  blue  handles. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

26  PITCHER. 

Glass.  Blown  in  a  mould.  Decorated  with  bands  of  spirals. 
Green. 

From  Asia  Minor. 

The  John  Huntington  Collection. 

27  BOWL. 

Blown  glass.  Raised  gadroons  outside,  perhaps  made  with 
pincers  while  hot.  Sea  green. 

From  Asia  Minor. 

The  John  Huntington  Collection. 

28  VASE. 

Blown  glass.  Decorated  with  glass  threads. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

29  CUP. 

Glass.  Blown  in  a  mould;  decorated  with  four  lines  cut. 
Greenish. 

The  art  of  cutting  glass  became  prevalent  in  the  III-V 
Centuries  A.D.,  and  was  carried  to  a  great  pitch  of  elab- 
oration. 

From  Asia  Minor. 

The  John  Huntington  Collection. 

30  SYRIAN  LEKYTHOS. 

Blown  glass.    Decorated  with  glass  threads.  Green. 

These  vessels  come  mostly  from  Syrian  tombs  of  the 
IV  Century  A.D. 

From  Asia  Minor. 

The  John  Huntington  Collection. 

7 


THE  CLEVELAND  MUSEUM 

31  SYRIAN  LEKYTHOS. 

Blown  glass.  Decorated  with  glass  threads.  Green. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

32  VASE. 

Blown  glass.   Decorated  with  glass  threads.  Yellowish. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

33  PITCHER. 

Blown  glass,  with  ribbed  body.  Green. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

34  BOTTLE. 

Blown  glass.  Decorated  with  threads  of  glass,  applied 
while  hot.  This  process  probably  dates  from  the  I  Cen- 
tury A.D.  Yellowish. 

From  Asia  Minor. 

The  John  Huntington  Collection. 

35  CUP  WITH  INDENTED  SIDES. 

-  Blown  glass.  Clear. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

36  PITCHER. 

Blown  Glass.  Decorated  with  glass  threads.  Green. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

37  LEKYTHOS. 

Black  figures  on  a  red  ground.  Several  satyrs  dancing. 
V  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 

38  BOTTLE. 

Blown  glass.  Green. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

8 


CLASSIC  ART 

39  KANTHAROS. 

Pottery.  Black  ware.  Decorated  round  neck  with  conven- 
tional garlands  in  slip. 

CTreek 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

40  HEAD. 

Marble. 

Greek.  IV  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 

41  LEKANE. 

Pottery.  Black  ware.  Anthemion  stamped  on  shoulder. 
South  Italian.  After  IV  Century  B.C. 
The  John  Huntington  Collection. 

42  BOTTLE. 

Blown  glass.  Decorated  with  glass  threads. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

43OINOCHE. 

Black  figures  on  red  ground.  Dancing  satyrs. 
V  Century  B.C. 
Lent  by  Sig.  A.  Canessa. 

44  BOTTLE. 

Blown  glass.  Decorated  with  glass  threads. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

45  PITCHER. 

Glass.  Blown  with  a  spiral  twist.  Green. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

46  FRAGMENT  OF  A  LION. 

Marble.  Possibly  from  a  sarcophagus  or  a  vase. 
Roman.  I  or  II  Century  A.D. 
The  John  Huntington  Collection. 

47  CIPPUS. 

Marble.  Coffer  for  the  reception  of  the  ashes  of  the  dead. 
Roman. 
The  John  Huntington  Collection. 


THE  CLEVELAND  MUSEUM 

48  BOTTLE. 

Blown  glass.     Green. 

The  art  of  blowing  glass  was   discovered  probably  in 
the  Greek  Orient  in  the  II  or  I  Century  B.C. 

From  Asia  Minor. 

The  John  Huntington  Collection. 

49  BOX. 

Alabaster. 
G'reek 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

50  BOTTLE. 

Blown  glass.    Greenish. 
From  Asia  Minor. 
The  John  Huntington  Collection. 

51  STRIGIL. 

Bronze.  Roman. 

Gift  of  Mr.  Willard  D.  Clapp. 


ANTIQUITIES  FROM  CYPRUS:  FROM  THE  CESNOLA 

COLLECTION 

A  collection  of  Cypriote  pottery  is  full  of  interest  both  from  an 
archaeological  and  from  an  artistic  point  of  view.  Archaeologically 
its  great  importance  lies  in  the  fact  that  it  shows  an  almost  unbro- 
ken succession  of  styles  from  the  Early  Bronze  Age,  about  3000 
B.C.,  down  to  the  Roman  period,  and  thus  gives  us  a  complete  pic- 
ture of  the  art  of  pottery  in  an  important  centre  of  ancient  civili- 
zation for  about  three  thousand  years.  Artistically  it  is  probably  the 
most  successful  product  of  the  Cypriote  artist.  His  sense  of  form 
and  decoration  could  here  find  full  expression  without  disclosing 
the  lack  of  high  artistic  inspiration  which  is  apparent  in  his  sculp- 
tural creations. 

The  fifty  vases  here  shown  cover  a  period  of  over  two  thousand 
years,  and  represent  the  most  important  fabrics  prevalent  in  Cy- 
prus during  the  Bronze  and  Early  Iron  Ages.  The  earlier  ware  rep- 
resents the  native  products  of  the  island,  and  a  characteristic  com- 
mon to  them  all  is  that  they  were  made  by  hand,  not  on  the  wheel. 
Much  of  the  attraction  of  these  vases  is  due  to  this  quality,  which 
gives  them  a  certain  irregularity  of  form.  Towards  the  end  of  the 

10 


CLASSIC  ART 

Bronze  Age  the  use  of  the  wheel  was  learned  from  the  Minoan  col- 
onists who  arrived  in  Cyprus  after  the  disruption  of  the  Minoan 
empire,  bringing  with  them  new  styles  of  pottery.  The  Bronze  Age 
lasted  until  the  end  of  the  second  millennium  B.C.  At  about  1200 
B.C.  iron  first  made  its  appearance  in  Cyprus,  and  by  about  1000 
B.C.  its  use  had  become  fully  established.  The  pottery  of  this  Early 
Iron  Age  is  no  longer  as  markedly  individual  as  was  the  earlier 
ware.  Both  the  shapes  and  the  decorative  designs  are  those  com- 
monly employed  in  geometric  art  all  over  the  Greek  world. 

52  BOTTLE. 

Pottery.  Red  polished  ware. 

Early  Bronze  Age.  About  3000-2000  B.C. 

This  is  the  earliest  pottery  found  in  Cyprus.  The  vases  are 
all  made  by  hand,  without  the  use  of  the  wheel.  The  polish 
was  obtained  by  rubbing  the  surface  with  a  pebble.  The 
forms  of  this  ware  are  mostly  derived  from  the  shapes  of 
leather  bottles  or  gourds,  while  the  ornaments  were  ap- 
parently influenced  by  basketwork.  This  ware  is  very 
similar  to  that  of  Pre-Dynastic  Egypt. 

The  John  Huntington  Collection. 

53  JUG. 

Pottery.  Red  poHshed  ware.  Incised  pattern. 
Early  Bronze  Age. 
The  John  Huntington  Collection. 

54  JUG. 

Pottery.  Red  polished  ware.  Incised  pattern. 
Early  Bronze  Age. 
The  John  Huntington  Collection. 

55  JUG. 

Pottery.  Red  poHshed  ware.  Incised  pattern. 
Cypriote.  Early  Bronze  Age. 
The  John  Huntington  Collection. 

56  JAR  WITH  HANDLES. 

Pottery.  Red  polished  ware. 
Early  Bronze  Age. 
The  John  Huntington  Collection. 

II 


'      THE  CLEVELAND  MUSEUM 

57  CUP  WITH  ONE  HANDLE. 

Pottery.  Red  polished  ware. 
Early  Bronze  Age. 
The  John  Huntington  Collection. 

58  JUG. 

Pottery.  Black  slip  ware.  Incised  pattern. 

These  vases  are  evidently  imitations  of  the  red  polished 
variety,  but  are  made  of  a  lighter  clay  and  covered  with 
a  black  slip.  The  decorations  consist  of  incisions  or  narrow 
ridges  of  various  patterns. 

Middle  Bronze  Age. 

The  John  Huntington  Collection. 

59  JUG. 

Pottery.  Black  slip  ware.  Pattern  in  relief. 
Middle  Bronze  Age. 
The  John  Huntington  Collection. 

60  BOTTLE  WITH  EAR. 

Pottery.  Cypriote.  White  painted  ware. 

The  vases  of  this  ware  are  made  of  a  yellowish  clay,  with 
no  colored  slip,  and  are  decorated  with  geometric  patterns 
in  brown  or  black  color,  mostly  borrowed  from  basket- 
work  or  other  coarse  textile. 

Middle  Bronze  Age.  About  2000-1500  B.C. 

The  John  Huntington  Collection. 

61  CUP  WITH  HANDLE. 

Pottery.  White  painted  ware. 
Middle  Bronze  Age. 
The  John  Huntington  Collection. 

62  BOTTLE  WITH  EAR. 

Pottery.  White  painted  ware. 
Middle  Bronze  Age. 
The  John  Huntington  Collection. 

63  BOTTLE  WITH  EAR. 

Pottery.  White  painted  ware. 
Middle  Bronze  Age. 
The  John  Huntington  Collection. 

64  CUP  WITH  HANDLE. 

Pottery.  White  painted  ware. 
Middle  Bronze  Age. 
The  John  Huntington  Collection. 

12 


CLASSIC  ART 

6s  BOTTLE  WITH  LONG  NECK. 

Pottery.  White  painted  ware. 
Middle  Bronze  Age. 
The  John  Huntington  Collection. 

66  BOWL  WITH  HANDLE. 

Pottery.    White  slip  ware. 

This  is  one  of  the  most  distinctive  wares  of  Cypriote 
pottery.  The  clay  is  of  dark  grey  color,  covered  with  a 
thick  white  sHp,  on  which  the  decorations  are  appHed  in 
blackish  paint.  The  shapes  of  the  vases  imitate  leather- 
work;  the  decorations  are  suggestions  of  stitches  or  lacings. 

Late  Bronze  Age.  About  1 500-1 200  B.C. 

The  John  Huntington  Collection. 

67  BOWL  WITH  HANDLE. 

Pottery.   White  sHp  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

68  VASE  WITH  ONE  HANDLE. 

Pottery.  White  sHp  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

69  LONGNECKED  JUG. 

Pottery.  White  sHp  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

70  VASE  WITH  ONE  HANDLE. 

Pottery.  Cypriote.  Base-ring  ware. 

The  vases  of  this  ware,  so  called  from  the  distinct  standing 
base  with  which  most  of  the  examples  are  supplied,  are  of 
the  sarjie  greyish  clay  as  the  white  slip  ware,  but  without  a 
prepared  surface.  In  the  former  the  influence  both  of 
leatherwork  and  metal  vases  is  apparent.  The  ornaments 
are  applied  either  in  white  paint  or  modeled  in  relief. 
Examples  of  this  ware  have  also  been  found  on  several 
Egyptian  sites  of  XVIII  Dynasty  date. 

Late  Bronze  Age. 

The  John  Huntington  Collection. 

13 


THE  CLEVELAND  MUSEUM 

71  LONGNECKED  JUG. 

Pottery.  Base-ring  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

72  JUG  WITH  ONE  HANDLE. 

Pottery.  Base-ring  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

73  VASE  WITH  THREE  HANDLES. 

Pottery.  Cypro-Mycenaean  ware. 

These  vases  mark  the  introduction  of  the  potter's  wheel. 
They  are  the  product  of  the  Minoan  colonists  who  estab- 
lished themselves  in  Cyprus  after  the  fall  of  the  great 
Minoan  empire  of  Crete.  In  all  essentials  this  pottery  is 
like  the  "Mycenaean"  ware  found  all  over  the  Greek 
world.  The  symmetrical  shapes  are  different  from  the 
other  Cypriote  wares  of  the  Bronze  Age.  The  decorations 
are  applied  in  a  highly  lustrous,  reddish-brown  paint  on  a 
cream-colored  background,  and  consist  mostly  of  hori- 
zontal bands  and  ornaments  derived  from  the  naturalistic 
prototypes  of  earlier  Minoan  art. 

Late  Bronze  Age. 

The  John  Huntington  Collection. 

74  VASE  WITH  THREE  HANDLES. 

Pottery.  Cypro-Mycenaean  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

75  BOTTLE  WITH  TWO  HANDLES. 

Pottery.  Cypro-Mycensean  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

76  VASE  WITH  TWO  HANDLES. 

Pottery.  Cypro-Mycenaean  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

77  BOTTLE  WITH  TWO  HANDLES. 

Pottery.  Cypro-Mycenaean  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 


CLASSIC  ART 

78  JUG. 

Pottery.  Cypriote  Bucchero  ware. 

This  ware  is  so  called  from  its  similarity  to  the  well-known 
Etruscan  pottery  of  that  name.  It  probably  represents  one 
of  the  arts  introduced  by  the  colonists.  The  clay  is  of 
light  color  with  a  dark  slip.  The  shapes  are  mostly  imi- 
tated from  metal  prototypes. 

Early  Iron  Age:  About  900-700  B.C. 
The  John  Huntington  Collection. 

79  JUG  WITH  FLUTED  BODY. 

Pottery.  Cypriote  Bucchero  ware. 
Late  Bronze  Age. 
The  John  Huntington  Collection. 

80  VASE. 

Pottery.  Cypriote.  White  painted  ware. 

This  is  by  far  the  commonest  ware  of  the  Early  Iron  Age. 
Except  for  certain  changes  in  form  and  decoration  it  re- 
mained the  same  for  more  than  seven  centuries.  On  the 
whitish  clay  of  the  vases  the  decorations  are  applied  in 
dull  black  and  red  colors.  The  vases  show  great  variety  in 
size,  ranging  from  colossal  to  miniature  examples.  The 
decorations  are  mostly  geometrical. 

Early  Iron  Age:  About  1000-300  B.C. 

The  John  Huntington  Collection. 

8 1.  BARREL- JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

82  VASE. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

83  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

15 


THE  CLEVELAND  MUSEUM 

84  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

85  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

86  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

87  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

88  BOWL. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

89  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

90  VASE. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

91  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

92  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

16 


CLASSIC  ART 

93  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

94  VASE. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

95  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

96  JUG. 

Pottery.  White  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

97  JUG. 

Pottery.  Cypriote.  Red  painted  ware. 

The  red  painted  ware  forms  a  parallel  series  to  the  white 
painted  fabric.  The  shapes  and  ornaments  are  the  same, 
but  the  clay  is  brick  red. 

Early  Iron  Age. 

The  John  Huntington  Collection. 

98  JUG. 

Pottery.  Red  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

99  BOWL. 

Pottery.  Red  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

100  VASE. 

Pottery.  Red  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

loi  JUG. 

Pottery.  Red  painted  ware. 
Early  Iron  Age. 
The  John  Huntington  Collection. 

17 


THE  CLEVELAND  MUSEUM 
IO2LAMP. 

The  device  of  pinching  together  part  of  the  rim  of  a  saucer 
and  thereby  fashioning  a  lamp  was  introduced  into  Cyprus 
about  the  VII  Century  B.C.  This  example,  and  the  one 
following,  probably  belong  to  the  V  or  IV  Century  B.C. 

The  John  Huntington  Collection. 

103  LAMP. 

Probably  V  or  IV  Century  B.C. 
The  John  Huntington  Collection. 

104  LAMP. 

Concave  top  and  scrolled  nozzle.  This  type  of  lamp  is  com- 
monly found  throughout  the  Roman  Empire  from  the  I 
Century  B.C.  to  the  I  Century  A.D. 
The  John  Huntington  Collection. 

105  LAMP. 

I  Century  B.  C.  to  I  Century  A.  D. 
The  John  Huntington  Collection. 

106  LAMP. 

I  Century  B.  C.  to  I  Century  A.  D. 
The  John  Huntington  Collection. 

107  LAMP. 

I  Century  B.  C.  to  I  Century  A.  D. 
The  John  Huntington  Collection. 

108  DAGGER-BLADE. 

Copper  daggers  of  this  type  represent  the  earliest  metal 
weapons  found  in  Cyprus.  They  are  of  almost  pure  copper. 

Early  Bronze  Age.  About  3000-2000  B.C. 

The  John  Huntington  Collection. 

109  DAGGER-BLADE. 

Copper. 

Early  Bronze  Age. 

The  John  Huntington  Collection. 

no  JAVELIN-HEAD  [?] 

Copper. 

Early  Bronze  Age. 

The  John  Huntington  Collection. 


CLASSIC  ART 

111  AXE-HEAD. 

Copper.  Like  the  dagger-blades  in  this  collection  these 
axe-heads  are  of  almost  pure  copper.  Their  small  size 
makes  it  probable  that  they  were  used  as  implements 
rather  than  as  weapons. 

Early  Bronze  Age. 

The  John  Huntington  Collection. 

112  AXE-HEAD. 

Copper. 

Early  Bronze  Age. 

The  John  Huntington  Collection. 

113  MIRROR. 

Cypriote  Bronze.  Disc-shaped,  without  handles. 

Such  mirrors  were  made  in  pairs  and  polished  on  the 
recessed  and  flat  sides  respectively,  the  latter  having  a 
beveled  edge  into  which  the  other  fitted  like  a  cover;  both 
polished  surfaces  were  thus  protected.  This  mirror  and 
No.  114  do  not  form  an  actual  pair. 

Ill  Century  B.C.  [?] 

The  John  Huntington  Collection. 

114  MIRROR. 

Bronze.  Disc-shaped,  without  handles. 
Ill  Century  B.C.  [.?] 
The  John  Huntington  Collection. 

115  ARROW-HEADS. 

and     Bronze. 

116  This  type  of  arrow-head,  with  four-sided  blade,  occurs  on 
Greek  sites  during  the  classic  period,  and  can  be  dated  to 
the  V  Century  B.C.  from  its  occurrence  on  the  battle-field 
of  Marathon. 

The  John  Huntington  Collection. 

117  DISH. 

Glass  vases  largely  took  the  place  of  pottery  in  Cyprus 
as  elsewhere  after  the  invention  of  the  blowing-tube  about 
I  Century  B.C.  which  made  possible  the  production  of 
glass  in  large  quantities.  The  examples  here  exhibited 
show  the  prevalent  shapes. 

Roman.  II  and  III  Centuries  A.D. 

The  John  Huntington  Collection. 

19 


THE  CLEVELAND  MUSEUM 

ii8  GOBLET. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

119  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

120  JUG. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

121  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

122  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

123  JUG. 

Glass. 

Roman.  II  and  III  Centuries  A.D 
The  John  Huntington  Collection. 

124  BOTTLE. 

Glass. 
Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

125  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

126  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

20 


CLASSIC  ART 

127  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

128  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

129  GOBLET. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

130  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

131  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 

132  BOTTLE. 

Glass. 

Roman.  II  and  III  Centuries  A.D. 
The  John  Huntington  Collection. 


21 


GALLERY  I— COLONIAL  ART 


THE  conditions  under  which  the  colonists  reached  these  shores, 
would  naturally  preclude  their  bringing  with  them  any  great 
stores  of  what  are  now-a-days  classed  as  works  of  art.  A  small 
amount  ofhousehold  furniture,  probably  mostly  in  the  form  of  chests, 
and  perhaps  some  silverware  and  pewter,  would  in  all  likelihood  be 
all  they  could  have  carried  with  them.  Moreover,  the  great  majority 
of  them  were  of  the  yeoman  class  and  were  accustomed  to  extreme 
simplicity,  not  to  say  bareness,  in  the  homes  they  had  left.  How- 
ever, from  the  first  the  more  prosperous  among  them  must  have 
imported  such  articles  of  luxury  and  refinement  as  their  taste 
demanded  and  their  needs  would  afford. 

Pottery  and  glassware,  neither  of  them  of  any  special  artistic 
merit,  were  made  in  the  colonies  from  early  times,  and  a  certain 
amount  of  furniture  made  by  these  simple  folk  still  survives.  Church 
plate,  in  a  limited  quantity,  seems  to  have  been  brought  over  from 
both  England  and  Holland  in  the  Seventeenth  century.  A  few  gold 
and  silversmiths  established  themselves  both  in  Boston  and  New 
York.  Some  of  their  work  is  of  great  excellence,  but,  except  from 
the  patriotic  interest  arising  from  its  having  been  made  in  America, 
it  differs  not  at  all  from  the  contemporaneous  European  silver,  the 
varying  styles  of  which  it  closely  reflects.  Even  in  the  South  which 
was  settled  by  a  richer  class  of  colonists,  it  is  doubtful  whether 
much,  even  household  gear,  remains  of  an  earlier  date  than  the 
Eighteenth  century.  A  limited  number  of  pieces  of  furniture  are 
known  to  have  been  made  in  this  country;  the  material  of  which 
others  are  made  betrays  their  American  origin,  but  for  the  most  part, 
in  the  absence  of  evidence  to  the  contrary,  we  may  safely  assume 
the  greater  part  of  colonial  furniture  as  late  in  date  as  the  end  of 
the  Seventeenth  century,  to  have  been  imported.  By  1750  or  so 
the  colonies  had  become  more  or  less  self-sufficing,  and  real  colonial 
work  became  commoner.  Still  it  was  only  in  what  may  be  called 
necessities  that  the  artistic  spirit  had  a  chance  to  manifest  itself; 
even  architecture  made  very  little  way  before  the  first  quarter  of 
the  Eighteenth  century. 

Traditionally,  certain  portraits  of  early  New  England  worthies 
were  painted  in  the  colony,  but  this  is  understood  to  be  a  matter 

23 


THE  CLEVELAND  MUSEUM 

of  question;  certainly  the  best  of  them  were  painted  in  England. 
Isham  says:  "it  is  well  nigh  impossible  to  place  any  names  on 
canvases  that  survive  from  the  period  before  1750." 

The  earliest  artist  of  merit  whose  works  are  known,  is  John 
Smybert  or  Smibert,  who  came  from  Holland  in  1728,  and  settled 
in  Boston.  There  were  others,  but  it  was  not  until  Copley  and  West 
were  born  that  American  painting  became  of  serious  importance. 
They  were  followed  by  Stuart,  Trumbull,  Allston  and  Malbone, 
to  mention  only  a  few  of  the  more  important  names.  In  the  next 
generation  Sully  and  Jarvis  reflect  the  waning  of  European  influ- 
ences, and  following  them,  Harding  and  Neagle.  The  activities 
of  these  men  stretch  well  into  the  Nineteenth  century, — indeed. 
Sully  who  was  born  in  1783,  lived  until  1872. 

The  Pennsylvania  Academy  of  Fine  Arts  was  founded  in  1805, 
and  the  New  York  Academy  of  Arts,  afterwards  the  National 
Academy  of  Design,  in  1808. 

Although  many  of  the  earlier  men  had  painted  landscapes, 
the  first  American  landscape  painter  was  Doughty;  but  his  efforts 
were  over-shadowed  by  those  of  Durand  and  Cole,  who  are  justly 
regarded  as  the  West  and  Copley  of  the  Landscape  School.  From 
among  their  pupils  and  followers,  Durand's  in  especial,  sprang 
the  members  of  the  well-known  Hudson  River  School,  Kensett, 
Richards,  Whittridge,  Gifford,  Church  and  others,  whose  work, 
much  of  it  excellent,  is  at  all  events  purely  American. 

Most  of  the  early  painters  who  were  not  directly  trained  in 
England,  sought  inspiration  in  Italy,  but  now  in  the  1830's,  an 
unaccountable  impulse  sent  American  students  to  Diisseldorf, 
and  a  httle  later  to  Munich,  with  in  most  instances,  far  from  the 
happiest  results  on  their  accomplishment.  After  the  Civil  War 
the  attention  of  American  art  students  was  inevitably  directed 
to  the  fertile  and  flourishing  art  of  the  Second  Empire,  and  the 
tide,  which  is  still  running,  set  towards  Paris.  The  older  of  the 
living  artists  are  pupils  of  Couture,  Duran,  Bouguereau,  and  Le- 
febvre,  while  the  newer  school  men  are  followers  of  Monet  and 
Degas. 

Not  that  from  the  time  of  the  Hudson  River  school  America 
has  not  produced  artists  whose  work  owes  little  or  nothing  to  Euro- 
pean example.  It  would  be  invidious  to  give  names,  but  the  stu- 
dent will  find  it  easy  to  discriminate.  One  American  painter  in- 
deed. Whistler,  has  perhaps  wielded  greater  influence  than  any  one 
man  in  the  Nineteenth  century. 

24 


COLONIAL  ART 

EARLY  AMERICAN  SILVER 

It  is  not  until  comparatively  recently  that  interest  has  been 
manifested  in  the  work  of  our  Colonial  silversmiths.  It  is  true  that 
in  1888  J.  H.  Buck  published  his  book  entitled  "Old  Plate,"  but 
this  dealt  more  with  English  than  American  silver,  though  the  lat- 
ter was  distinctly  a  feature  of  the  work. 

Dr.  T.  S.  Woolsey  made  an  attempt  to  call  the  attention  of 
collectors  and  the  public  to  the  beauty  and  value  ofAmerican  plate  in 
1896  in  his  writings  for  Harpers'  Monthly  Magazine;  but  though 
there  were  a  few  discerning  connoisseurs  like  R.  T.  H.  Halsey 
of  New  York,  whose  collection  stands  in  many  ways  unrivalled 
to-day,  no  widespread  interest  was  manifested  in  this  art  until  the 
exhibition  of  American  silver  was  held  at  the  Museum  of  Fine 
Arts,  Boston,  in  1896. 

Here  were  displayed  more  than  three  hundred  examples  of  the 
work  of  our  early  craftsmen,  mostly  New  England  makers. 

Since  that  time  several  notable  exhibitions  have  been  held, 
the  principal  ones  being  those  of  the  Hudson-Fulton  Celebration 
in  1909,  the  Exhibition  of  New  York  and  New  Jersey  Silversmiths 
in  191 1  (both  at  the  Metropolitan  Museum  in  New  York)  and  in 
the  same  year  the  great  collection  of  American  church  silver 
shown  at  the  Museum  of  Fine  Arts  in  Boston. 

The  few  pieces  of  silver  now  shown  in  Cleveland  are  not  in- 
tended to  be  other  than  suggestive,  and  the  articles  for  that  reason 
have  been  selected  with  a  view  of  providing  a  distinctive  series  of 
the  various  products  of  our  early  silversmiths,  of  whose  art  America 
may  be  justly  proud.  With  but  few  exceptions  they  are  all  by  New 
Englanders,  many  of  whom  were  prominent  in  various  walks  of 
life. 

In  Colonial  days  New  England  long  enjoyed  a  pre-eminence 
and  owing  to  her  great  trade  with  the  Mother  Country  her  wealth 
commanded  a  patronage  for  luxuries  which  was  well  reflected  in 
the  production  of  silver,  both  for  domestic  and  ecclesiastical  uses. 
The  style  of  the  productions  was  simple  and  substantial  and  though 
in  line  the  pieces  followed  the  work  of  the  English  artisans,  no 
elaborately  ornamented  pieces  were  ever  made  here,  though  such 
were  frequently  found  in  England.  Thus  the  art  in  the  Colonies 
was  in  keeping  with  the  simple  life  of  the  people  and  has  for  us  a 
charm  which  is  indeed  a  heritage. 

25 


THE  CLEVELAND  MUSEUM 

Those  were  the  days  before  the  advent  of  machinery  brought 
the  "spinning"  process  into  use  and  before  the  buffing  wheel  was 
thought  of,  and  who  can  look  at  the  early  work  and  not  say  it  was 
better  without  the  later  "improvements"  in  manufacture.  It  is 
true  it  would  be  impossible  to-day  to  supply  the  vast  needs  of  the 
public  without  factory  made  silver  articles,  and  yet  the  product 
has  lost  much  of  its  interest  by  modern  methods. 

When  pieces  were  beaten  out  by  hand,  trued  by  a  foot  lathe 
and  finished  with  rotten  stone  and  burnishers,  a  patina  was  pro- 
duced which  cannot  be  obtained  by  modern  methods,  and  when 
each  craftsman  was  his  own  artist  and  designer  a  form  was  evolved 
which  cannot  be  imitated  by  factory  work. 

With  but  two  or  three  exceptions  all  the  silver  here  shown  is 
from  the  collections  of  Dwight  Blaney  and  Hollis  French  of  Boston, 
and  George  S.  Palmer  of  New  London,  and  although  as  previously 
stated,  almost  all  the  pieces  are  the  work  of  New  England  silver- 
smiths showing  the  English  influence,  it  is  hoped  that  later  some 
of  the  work  of  the  New  York  makers  may  be  put  on  exhibition, 
since  they  will  in  a  most  interesting  manner  show  the  influence  of 
the  Dutch  on  their  design. 

Hollis  French. 

1  FLAGON. 

Engraved  "North  Church,  Newburyport".  Mark,  J.  B. 
Jones  in  rectangle. 

J.  B.  Jones.  Boston.  1782-1854. 

2  BEAKER.  ^^ 

Engraved  "This  belongs  to  ye  Church  of  Christ  in  Truro." 
Mark,  M  R  in  square. 

Moody  Russell.  Barnstable,  Mass.  1 694-1 761. 

3  BEAKER. 

Engraved.  "This  belongs  to  the  Church  in  Truro  1717". 
Mark,  I  E  crowned;  fleur-de-lys  below  in  shield. 
John  Edwards.  Boston.  1701-1755. 

4  ALMS  BASIN. 

Engraved  "The  Gift  of  Thomas  Hancock  Esq*"-  to  the 
Church  in  Brattle  street  Boston  1764."  Mark,  J.  COBURN 
in  rectangle. 

John  Coburn.  Boston.  1725-1803. 

26 


COLONIAL  ART 

5  PEPPER  CASTER. 

R 

Engraved  E  R  on  body.  Mark,  HURD  in  rectangle. 
Jacob  Hurd.  Boston.  1702-1758. 

6  TEASPOON. 

H 

Engraved  R    S  on  handle.  Mark,  Boyer  in  cartouche. 
Daniel  Boyer.  Boston.  About  1725-1779. 

7  TEASPOON. 

Engraved  S  S  on  handle.  Mark,  I  A  in  rectangle. 
Josiah  Austin.  Charlestown,  Mass.  1719-1780. 

8  TEASPOON. 

N 
Engraved  A  A.  Mark,  A  N  in  rectangle. 
Abijah  Northey.  Salem,  Mass.  About  1770. 

9  TEASPOON. 

Engraved  E  W.  Mark,  PARSONS  in  rectangle. 
About  1750. 

10  TANKARD. 

Engraved  A.  L  on  handle.  Anna  Leonard  on  bottom. 
Mark,  E.  Cobb,  in  rectangle. 

Ephraim  Cobb.  Plymouth,  Mass.  1708-1775. 

11  TEASPOON. 

Engraved  L  A  on  handle.    Mark,  BALL  in  rectangle. 
John  Ball.  About  1770. 

12  TEASPOON. 

Engraved  M  L  on  handle.  Mark,  C.  DUNN  in  rectangle. 
Cary  Dunn.  New  York.  1765. 

13  TEASPOON. 

P 

Engraved  I    M  on  handle.  Mark,  L  Burt  in  rectangle. 
John  Burt.  Boston.  1691-1745. 

14  TEASPOON. 

Engraved  L  R  on  handle.  Mark,  P  S  in  rectangle. 
Philip  Syng.  Philadelphia.  1703-1789. 

15  RAPIER. 

Mark,  Hurd  in  rectangle. 

Jacob  Hurd.  Boston.  1702-1758. 

27 


THE  CLEVELAND  MUSEUM 

1 6  CREAMER. 

P 

Engraved  R  L  on  bottom.  Mark,  S:  CASEY  in  rectangle. 
Samuel  Casey.  Newport,  R.  I.  About  1724- 1770. 

17  TEAPOT. 

Engraved  AW  to  A  Won  side.  Mark,  R  &  H  FARNAM 
in  rectangle. 

Rufus  and  Henry  Farnam.  Boston.  Born  about  1771 

and  1773. 

18  CREAM  PITCHER. 

G 
Engraved  W  M  on  handle;  E  B  D  to  E  A  B  on  body. 
Mark,  I  E  in  a  rectangle. 
Joseph  Edwards.  Boston.  1707-1777. 

19  SALT  SPOON. 

Engraved  T  B  on  handle.  Mark,  W  W  in  rectangle. 

20  TWO  TEASPOONS. 

Engraved  H  L.  Mark,  C  L  in  scalloped  rectangle. 
Charles  Leach.  Boston.  1789-1796. 

21  TEASPOON. 

Engraved  A  W.  Mark,  T  A  in  oval. 
Thos.  Arnold.  Newport,  1750. 

22  TANKARD. 

B 

Engraved   S  C  on  bottom.  S  B  to  R  A  on  handle.  Mark, 
I  E  crowned;  fleur-de-lys  below  in  shield. 
John  Edwards.  Boston.  1701-1755. 

23  MOTE  SPOONS. 

Engraved  H  C  and  H  P  on  bowls.  Unmarked. 

24  MOTE  SPOON. 

Engraved  B  W  in  bowl.  Mark,  T.T  in  rectangle. 
Thomas  Trott.  Boston.  About  1701-1777. 

25  MOTE  SPOON. 

Mark,  M  M  script  in  rectangle. 
Myer  Myers.  New  York.  1746. 

26  PEPPERBOX.  M 

Engraved  A  M  on  body;  D  L  on  bottom.  Mark,  A. 
TYLER  in  long  oval. 

Andrew  Tyler.  Boston.  1 692-1741. 

28 


COLONIAL  ART 

27  CREAM  PITCHER. 

Mark,  Z  B  in  rectangle. 

Zachariah  Brigden.  Boston.  1734-1787. 

28  PAP  BOAT. 

Mark,  C  DUNN  in  oval. 

Cary  Dunn.  New  York.  1765. 

29  CREAM  PITCHER. 

Engraved  L  H  on  handle.  Unmarked. 

30  TRENCHER  SALTS. 

Engraved  M  G  on  side.  Mark,  nearly  obliterated;  H  only 
visible. 

31  SPOON. 

Engraved  L  R  on  handle.  Mark,  S  V;  fleur-de-lys  below 
in  heart. 

Samuel  Vernon.    Newport,  R.  I.  1683-1737. 

32  SPOON. 

Engraved  "Zaccheus  Starbuck  Born  y^  i^^  of  y^  1^  vao^ 
1733".  Mark,  I  T  in  shield. 
James  Turner.  Boston.  About  1759. 

32a  PORRINGER. 

Engraved  "Abigail  Hussey  Born  lo'""  22  1679.'* 
Mark,  E  W  in  rectangle. 

Edward  Winslow.  Boston.  1 669-1753.. 

2,2>  TWO  SPOONS. 

Engraved  M  Y  lune  16,  1729.  Mark,  I  E  crowned;  fleur- 
de-lys  below  in  shield. 

John  Edwards.  Boston.  1701  to  1755. 

34  PATEN. 

Engraved  J.  B.  R.  in  decorative  monogram.  Mark,  B  S; 
fleur-de-lys  below  in  heart. 

Bartholomew  Schaats.  New  York.  1 670-1720. 

2,s  SMALL  PATEN. 
^^  B 

Engraved  E  S,  N  D  on  bottom.  Mark,  I  D  in  oval. 
John  Dixwell.  Boston.  16&0-1725. 

2,(y  SPOON.      I  L 

Engraved  I  B  on  handle.  Mark,  W  G  with  three  stars  in 
shield. 

29 


THE  CLEVELAND  MUSEUM 

37  SPOON.       B 

Engraved  I  M  on  handle.  Mark,  T  H;  sun  below  in  shield. 

38  PORRINGER. 

W 

Engraved  C    M  on  handle.  Mark,  B.  Burt  in  rectangle. 
Benjamin  Burt.  Boston.  1729-1804. 

39  SPOON.  (Small) 

Mark,  S  V;  fleur-de-lys  below  in  shield,  small. 
Samuel  Vernon.  Newport,  R.  I.    1683-1737. 

40  SPOON. 

T 

Engraved  W  K  on  handle.  Mark,  W.  Cowell  in  cartouche. 
Wilham  Cowell.  Boston.  1682-1736. 

41  PITCHER. 

Mark,  PITMAN  in  rectangle. 

Saunders  Pitman.  Providence,  R.  I.  1732-1804. 

42  CASTER. 

Engraved  Sprague  1760.  Mark,  T  C  in  rectangle. 
Thomas  Coverly.  Newburyport,  Mass.  1730- 1800. 

43  CASTER. 

Engraved  M  B  on  lower  body.  Mark,  D  T  in  rectangle. 
David  Tyler.  Boston.  About  1760- 1804. 

44  TEAPOT. 

Engraved  with  coat  of  arms.  Mark,  N.  Hurd  in  cartouche. 
Nathaniel  Hurd.  Boston.  1729-1777. 

45  SPOON. 

Engraved  E  B.  Mark,  W  H  in  rectangle. 
William  Homes.  Boston  1707- 1783. 

46  SPOON. 

Engraved  B.  I.  W.  Mark,  REVERE  in  rectangle. 
Paul  Revere.  Boston.  1735-18 18. 

47  CREAM  JUG. 

Engraved  W  E  H  with  a  crest  on  body.  Mark,  Hurd  in 
oval. 

Jacob  Hurd.  Boston.  1 702-1 758. 

30 


COLONIAL  ART 

48  CUP. 

Engraved  "The  gift  of  Jos^-  Allen,  esq''  and  wife  to  the 
4'^  Church  in  Glocester,  1751."  Mark,  Benjamin  in 
cartouche.  Burt 

Benjamin  Burt.  Boston.  1729- 1804. 

49  PEPPERBOX. 

H 

Engraved  B  L  on  body.  Mark,  E  W  in  rectangle. 
Edward  Winslow.  Boston.  1 669-1753. 

50  SPOON. 

G 

Engraved  W  E.  Mark,  Minott  in  rectangle. 
Samuel  Minott.  Boston.  1732-1803. 

51  SPOON. 

Engraved  S  D.  Mark,  S  E  crowned  in  shield. 
Samuel  Edwards,  Boston.  1 705-1 762, 

52  TWO  SPOONS. 

Engraved  E  P  1757.  Mark,  HOMES  in  rectangle. 
WilHam  Homes.  Boston.  1707-1783. 

53  TEAPOT. 

Engraved  C  M  to  W  P.  Monograms  on  side.  Mark, 
MOULTON  incised. 

William  Moulton,  4th.  Newburyport,  Mass.  1772-1861. 

54  PEPPERBOX. 

Engraved  lohn  Bassett,  M  B  on  bottom.  Mark,  I  Burt 
in  oval. 

John  Burt.  Boston.  1691-1745. 

55  COVERED  SUGAR  BOWL. 

Mark,  T.  LYNDE  in  rectangle. 

Thomas  Lynde.  Worcester,  Mass.  1748-18 12. 

56  CREAM  JUG. 

Mark,  W  S  in  cartouche. 

WiUiam  Swan.  Worcester,  Mass.  17 15-1774. 

57  SPOON. 

Engraved  I  C  on  handle.  Mark,  A  C  in  a  shield. 
Arnold  Collins.  Newport,  R.  I.  1690. 

31 


THE  CLEVELAND  MUSEUM 

58  SPOON. 

T 

Engraved  I  S.  Mark,  P  R  in  a  crowned  shield. 
Paul  Revere,  Sr.  Boston.  1702-1754. 

59  BEAKER. 

Engraved  S  C  on  bottom.  Mark,  M  R  in  a  square. 
Moody  Russell.  Barnstable,  Mass.  1 694-1 761. 

60  PUNCH  LADLE. 

Mark,  O  P  D  P  in  rectangle. 

Otto  and  David  Parisien.  New  York.  1789. 

61  BEAKER. 

Mark,  I  C  crowned;  cony  below  in  a  shield. 
John  Coney.  Boston.  1655-1722. 

62  SAUCEBOAT. 

Engraved  with  coat  of  arms  and  crest.  Mark,  D  I  in  oval. 
Possibly  David  Jesse,  Boston,  1670-1705. 

63  BRAZIER. 

Engraved  with  arms  and  initials  L.  H.  Mark,  I  Hurd  in 
cartouche. 

Jacob  Hurd.  Boston.  1702-1758. 

64  PORRINGER. 

Mark,  REVERE  in  rectangle. 
Paul  Revere.  Boston.  1735-18 18. 

6s  SALTCELLAR. 

Engraved  A  M  on  bottom.  Mark,  Z  B  in  rectangle. 
Zachariah  Brigden.  Boston.  1734-1787. 

66  TWO  SUGAR  SCISSORS. 

Unmarked. 

67  KNEE  BUCKLES. 

Engraved  H  B.  Unmarked. 

68  DRAM  CUP. 

Engraved  R  M.  to  R  P  on  bottom.  Unmarked. 

69  PORRINGER. 

H 

Engraved  E  S.  Mark,  A.  T.;  fleur-de-lys  below  in  heart. 
1784 
Andrew  Tyler.  Boston.  1692-1741. 

32 


COLONIAL  ART 

70  BOWL. 

Engraved  "The  gift  of  Mr.  Jonas  Rowlandson  to  Mr.Tho^ 
Woodbridge  1740",  with  brig  under  sail.  Mark,  i^^°^  in 
cartouche.  Hurd 

Jacob  Hurd.  Boston.  1702-1758. 

71  PORRINGER. 

Engraved  LB.  W  B  on  handle.  Mark,  A.  T.  crowned;  cat 
below,  in  shield. 

Andrew  Tyler.  Boston.  1692-1741. 

72  BEAKER. 

Mark,  G  HANNERS  in  rectangle. 
George  Hanners.  Boston.  1696- 1740. 

73  CAN. 

Engraved  B  F  G  in  monogram,  1778  on  bottom.  Mark, 
Z.  Brigden  in  cartouche. 

Zachariah  Brigden.  Boston.  1734-1787. 

74  CAN. 

Mark,  W.  Cowell  in  cartouche. 

William  Cowell.  Boston.  1682-1736. 

75  TWO  SUGAR  BOWLS. 

Engraved  A  W  to  A  W  on  bodies.  Mark,  R  &  H  FAR- 
NAM  in  rectangle. 

Rufus  and  Henry  Farnam.  Boston.  Born  about  1771 

and  1773. 

76  SPECTACLES. 

Mark,  PIERCE  in  rectangle. 
Boston.  About  1800. 

77  CREAM  JUG. 

Engraved  "S  H  to  R  C  1756"  on  handle.  Unmarked. 

78  PAIR  OF  TRAYS. 

H 

Engraved  A  T  on  bottom.  Mark,  HURD  in  a  rectangle. 
Jacob  Hurd.  Boston.  1 702-1758. 

79  BEAKER. 

Engraved  K  D  on  bottom.  Mark,  S  E  crowned;  fleur-de- 
lys  below  in  shield. 

Samuel  Edwards.  Boston.  1705-1762. 

33 


THE  CLEVELAND  MUSEUM 

80  CASTER. 

Mark,  S  M  in  rectangle. 

Samuel  Minott.  Boston.  1732-1803. 

81  BEAKER. 

Engraved  I  S  on  bottom.  Mark,  W  C  in  oval. 
William  Cowell.  Boston.  168 2-1 736. 

82  CREAM  JUG. 

Mark,  J.  COBURN  in  rectangle.. 
John  Coburn.  Boston.  1725-1803. 

83  CHATELAINE. 

Engraved  E.  B.  on  clasp.  Mark,  I  D  in  rectangle. 

84  PORRINGER. 

Engraved  M  C  on  handle.  Mark,  AT  crowned;  cat  below 
in  shield. 

Andrew  Tyler.  Boston.  1692-1741. 

85  NUTMEG-GRATER. 

Engraved  C  S  monogram  on  lid.  Unmarked. 

86  TANKARD. 

Mark,  H  B  in  rectangle. 

87  SNUFFBOX. 

Engraved  Gerardus  Boyce,  New  York.  Mark,  G.  BOYCE 
in  rectangle. 

Gerardus  Boyce.  New  York.  About  1820. 

88  PORRINGER.  SAMUEL 

Engraved  C  P  on  handle.  Mark,   BURT   in  cartouche. 
Samuel  Burt.  Boston.  1724-1754. 

89  CASTER. 

Mark,  REVERE  in  rectangle. 
Paul  Revere.  Boston.  1735-18 18. 

90  TANKARD. 

Mark,  E.  W;  fleur-de-lys  below  in  shield. 
Edward  Winslow.  Boston.  1669-1753. 

91  NUTMEG-GRATER. 

Mark,  I  T  in  rectangle. 

92  SUGAR  TONGS. 

Mark,  C  St  in  oval. 

34 


COLONIAL  ART 

93  SUGAR  TONGS. 

Engraved  S.  S.  P.  in  monogram.  Mark,  REVERE  in 

rectangle. 

Paul  Revere.  Boston.  1735-1818. 

94  STRAINER. 

H 

Engraved  B  H  on  bowl.  Mark,  D:P  in  rectangle. 
Daniel  Parker.  Boston.  1727-1786. 

95  CAN. 

Mark,  Minott  in  rectangle. 

Samuel  Minott.  Boston.  1 732-1803. 

96  CAN. 

Engraved   H.    on    body,    E    L   on    bottom.    Mark,    R. 
GREENE  in  shaped  rectangle. 
Rufus  Greene.  Boston.  1 707-1777. 

97  SMALL  CAN. 

Mark,  B.  Burt  in  rectangle. 

Benjamin  Burt.  Boston.  1729-1804. 

98  STRAINER. 

Mark,  REVERE  in  rectangle. 
Paul  Revere.  Boston.  1735-18 18. 

99  SUGAR  SCISSORS. 

Engraved  N  L  near  centre.  Mark,  HURD  in  rectangle. 
Jacob  Hurd.  Boston.  1702-1758. 

100  DRAM  CUP. 
P 

Engraved  S  M  on  bottom.  Mark,  B  S  in  square. 
Bartholomew  Schaats.  New  York.  1670- 1720. 

loi  CUP. 

Engraved  A  B  1674.  Mark,  H  B,  monogram  in  shield. 
Hendrik  Boelen.  New  York.  1755. 

102  DRAM  CUP. 

Mark  E.  W;  fleur-de-lys  below  in  shield. 
Edward  Winslow.  Boston.  1 669-1 753. 

103  SUGAR  SCISSORS. 

NB 

Engraved      C      in  centre.  Mark,  D  T  in  rectangle. 
David  Tyler.  Boston.  About  1 760-1 804. 

3S 


THE  CLEVELAND  MUSEUM 

ENGLISH  COLONIAL  SILVER 
Lent  by  Mr.  Hervey  E.  Wetzel. 

104  BOWL. 

Engraved  with  crest:  unicorn's  head  on  a  crown. 
EngHsh.  George  I.  1723. 

105  SAUCEBOAT. 

On  three  feet.  Date  mark  much  worn;  appears  to  be  a  W, 
which  may  mean  1767  or  1792,  as  that  letter  was  used  in 
both  these  years. 
Irish.  George  III. 

106  CANDLESTICK. 

Columnar.  Maker,  I.  W.  &  Co.    Pair  to  No.  107. 
English.  Sheffield.  George  III.  1779. 

107  CANDLESTICK. 

Columnar.  Maker,  I.  W.  &  Co.    Pair  to  No.  106. 
English.  Sheffield.  George  III.  1779. 

108  SALVER. 

Scalloped  edge,  on  four  feet.  Maker's  mark,  D.  L.  En- 
graved underneath 

D.  lohn  Norton. 

I.  M. 
EngHsh.  George  II.  1736. 

109  SALTCELLAR. 

Maker's  mark  E.  W.  in  Gothic  letters. 
English.  George  II.  1739. 

no  COFFEEPOT. 

EngHsh.  London.  Queen  Anne.  1706. 

111  CHALICE. 

Beaker-shaped.  Engraved  with  the  Last  Supper,  a  coat-of- 
arms  and  the  words,  "Dit  is  Sonwerder  Kerck  Beecker 
Anno  1723."  Maker's  marks,  one  illegible,  one  a  shield 
bearing  4  over  B. 

Dutch.  XVIII  Century. 

112  CANDLESTICK. 

Engraved  on  side  of  foot  Z.  L.  M.    Pair  to  No.  1 13. 

113  CANDLESTICK. 

Engraved  on  side  of  foot  Z.  L.  M.    Pair  to  No.  112. 

3(> 


COLONIAL  ART 

1 14  CREAM  JUG. 

Maker's  mark  W.  I. 

English.  London.  George  I.  1718. 

115  CANDLESTICK. 

Crest  engraved  on  foot.  Pair  to  No.  116. 
English.  London.  George  L  1725. 

116  CANDLESTICK. 

Crest  engraved  on  foot.  Pair  to  No.  115. 
English.  London.  George  I.  1725. 

117  CUP  AND  COVER. 

The  cup  engraved  with  a  coat-of-arms,  the  cover  with  a 
crest. 

English.  London.  Queen  Anne.  171 1. 

118  SALVER. 

On  four  feet.  With  scalloped  sides.  Engraved  on  face  with 
shield  of  arms.  On  the  back,  George  Shergold,  Dec.  21, 
1730. 
English.  George  II.  1730. 

119PEPPERPOT. 

English.  London.  George  III.  1782. 

120  CAKE  BASKET. 

Pierced  and  repousse.  Engraved  with  a  crest  on  the  bot- 
tom. 

English.  London.  George  II.  1759. 

121  SALVER. 

Square,  with  rounded  corners.  On  four  feet.  Engraved  on 
face  with  a  coat-of-arms.  Maker's  mark,  G.  H. 
English.  London.  George  II.  1732. 

122  CUP. 

Engraved  in  the  style  of  Peter  Flotner. 
English.  London.  Charles  I.  1629. 

123  SUGAR  CASTER. 

Engraved  with  a  coat-of-arms  and  coronet.  Marked  with 
a  lion  rampant  passant,  an  illegible  cipher  and  M.  G., 
H.  S.,  D.  in  separate  stamps.  Foreign  plate  mark,  1887, 
London. 

37 


THE  CLEVELAND  MUSEUM 


124  STATUE  OF  GEORGE  WASHINGTON. 

Bronze.  Replica  of  the  statue  in  marble  by  Houdon  (1741- 
1828)  in  the  capitol,  Richmond,  Virginia. 
Lent  by  the  Gorham  Company. 


ALEXANDER,  Francis. 
Born  in  Connecticut,  1800.  Died  in  Italy,  1881.  Self- 
taught,  he  became  an  itinerant  portrait  painter.  Settling 
in  Boston  at  Gilbert  Stuart's  invitation  he  became  known. 
In  1 83 1  he  went  to  Rome,  returning  in  1833  to  Boston 
where  he  lived  until  he  retired  to  Italy. 

125  Portrait  of  Frederic  Tudor. 

Lent  by  Mrs.  Frederic  Tudor. 

ALLSTON,  Washington,  A.  R.  A. 
Born  at  Waccaman,  S.  C,  1779.  Died  at  Cambridgeport, 
Mass.,  1843.  Pupil  of  Malbone.  Graduated  at  Harvard 
College  in  1800  and  the  next  year  entered  the  schools  of 
the  Royal  Academy  in  London.  In  1804  he  went  to  Paris 
and  thence  to  Rome  where  he  spent  four  years.  He  revis- 
ited America  but  settled  in  London  in  181 1.  He  was  elect- 
ed an  Associate  of  the  Royal  Academy  in  18 18  and  re- 
turned to  Boston  in  the  same  year  where  he  remained 
until  1830  when  he  moved  finally  to  Cambridgeport. 

126  Paul  and  Silas  in  Prison. 

Lent  by  the  City  Art  Museum,  St.  Louis. 

COPLEY,  John  Singleton,  R.  A. 
Born  in  Boston,  Mass.,  1739.  Died  in  London,  England, 
18 15.  He  painted  with  increasing  success  in  his  native 
city  until  1774,  when  he  went  to  Rome.  In  1775  he  settled 
in  London.  Elected  Associate  of  the  Royal  Academy  in 
1776;  Academician  in  1779. 

127  Portrait  of  Mrs.  John  Greene.  Catherine,  daughter  of 
Governor  WiUiam  Greene  of  Rhode  Island,  and  wife  of 
John  Greene  of  Boston.  Signed,  and  dated  1769.  In  a 
frame  said  to  have  been  carved  by  Paul  Revere. 

38 


COLONIAL  ART 

128  Portrait  of  Nathaniel  Hurd.  Silversmith  and  engraver,  of 
Boston. 

The  John  Huntington  Collection. 

129  Portrait  of  Mrs.  Abigail  Bloomfield  Rogers. 

Lent  by  Miss  A.  P.  Rogers. 
DUNLAP,  William. 
Born  at  Perth  Amboy,  N.  J.,  1766.  Died,  1839.  Began 
painting  as  a  youth.  Studied  in  London  with  Benjamin 
West  in  1784  with  small  results.  On  his  return  to  America 
he  failed  to  achieve  success  as  a  portrait  painter  though 
he  continued  in  his  intervals  of  other  avocations  to  occupy 
himself  with  the  arts  during  the  rest  of  his  life. 

130  Portrait  of  Mrs.  Thomas  Apthorp  Cooper. 

Lent  by  Mr.  William  Macbeth. 

131  Scene  from  "Harry  Birch." 

Lent  by  Mr.  Albert  Rosenthal. 
EARL,  or  Earle,  Ralph,  R.  A. 
Born  at  Lebanon,  Conn.,  about  175 1.  Died  at  Bolton, 
Conn.,  1 801.  Self-taught,  he  was  an  itinerant  portrait 
painter.  Went  to  London  after  the  Revolutionary  war 
and  studied  under  Benjamin  West.  He  was  made  a  mem- 
ber of  the  Royal  Academy.  Returned  to  the  United  States 
in  1786. 

132  Portrait  of  Mary  Carpenter. 

Lent  by  the  Worcester  Art  Museum. 
ELLIOTT,  Charles  Loring,  N.  A. 
Born  at  Auburn,  N.  Y.,  in  18 12.  Died  at  Albany  in  1868. 
Advised  and  assisted  by  Trumbull.  Became  an  itinerant 
portrait  painter.  In  1845  he  settled  in  New  York  where  he 
lived  and  worked  successfully. 

133  Portrait  of  Tompkins  Matteson. 

Lent  by  Mr.  WiUiam  Macbeth. 
HARDING,  Chester. 
Born  at  Chester,  Mass.,  1792.  Died  at  Boston,  1866.  Self- 
taught.  Studied  for  a  short  time  in  the  Academy  of  Phila- 
delphia. By  1823  he  had  made  enough  money  by  his  art 
to  take  him  to  England  and  was  for  a  while  very  success- 
ful there.  He  returned  to  Boston  in  1826  and  painted  most 
of  the  prominent  persons  of  the  day. 

134  Portrait  of  Mrs.  Thomas  Brewster  Coohdge. 

Lent  by  Mr.  Baldwin  Coolidge. 

39 


THE  CLEVELAND  MUSEUM 

HEALY,  George  Peter  Alexander. 
Born  at  Boston,  Mass.,  1813.  Died  at  Chicago,  111.,  1894. 
Studied  in  Paris  in  1836;  went  to  Chicago  in  1858.  In  1869 
he  revisited  Europe,  and  resided  in  Rome  for  some  years. 

135  Portrait  of  Himself,  painted  in  1852. 

The  John  Huntington  Collection. 

HUNTINGTON,  Daniel,  N.  A. 
Born  in  New  York  in  1 8 16.  Died  1906.  Pupil  of  Morse  and 
Inman.  Three  times  President  of  the  National  Academy  of 
Design. 

136  Dr.  John  W.  Francis. 

Lent  by  Mr.  William  Macbeth. 

INMAN,  Henry,  N.  A. 
Born  at  Utica,  N.  Y.,  in  1801.  Died  in  New  York,  1846. 
In  1 8 14  was  apprenticed  to  Jarvis,  who  took  him  on  many 
trips  about  the  country.  On  the  expiration  of  his  term  he 
settled  in  New  York  and  assisted  in  the  foundation  of 
the  Academy  of  Design,  of  which  he  became  the  first  Vice- 
President.  He  removed  to  Philadelphia  in  1832  and  was 
for  a  time  most  successful  there,  but  later  returned  to 
New  York.  He  was  assisted  to  visit  England  in  1845  by 
some  friends  who  commissioned  him  to  paint  portraits 
of  Wordsworth,  Macaulay  and  others.  His  health  failing, 
he  returned  to  New  York  only  to  die. 

137  Portrait  of  WiUiam  Inman. 

Lent  by  Mr.  Albert  Rosenthal. 

JARVIS,  John  Wesley. 

Born  at  South  Shields  in  1780.  Died  in  1834.  Brought  to 
America  as  a  child.  Chiefly  self-taught  as  a  painter. 

138  "Old  Pat." 

Lent  by  Mr.  Albert  Rosenthal. 

JOUETT,  Matthew  Harris. 
Born  in  Mercer  Co.,  Ky.,  1783.  Died  at  Lexington,  Ky., 
1827.  Educated  a  lawyer,  he  served  in  the  war  of  18 12  and 
at  its  close  in  18 14  opened  a  studio  in  Lexington.  In  18 16 
he  studied  for  four  months  under  Stuart  at  Boston.  He 
painted  more  than  three  hundred  portraits. 

139  Portrait  of  J.  G.  McKinney. 

Lent  by  Mr.  William  Macbeth. 

40 


COLONIAL  ART 

MALBONE,  Edward  G. 
Born  at  Newport,  R.  I.,  1777.  Died  at  Savannah,  Ga., 
1807.  At  seventeen  he  established  himself  as  a  portrait 
painter  at  Providence.  In  1790  he  moved  to  Boston, 
thence  to  New  York,  Philadelphia  and  Charleston.  In 
1 801  he  went  to  England  and  was  urged  by  West  to  re- 
main there,  but  preferred  to  return  to  Charleston.  His 
health  giving  way  he  went  to  Savannah,  where  he  died. 
His  most  famous  works  are  miniatures. 

140  Portrait  of  Himself. 

Lent  by  the  Corcoran  Gallery  of  Art. 

MORSE,  Samuel  F.  B.,  N,  A. 
Born  at  Charleston,  Mass.,   1791.  Died  in  New  York, 
1872.  Pupil  of  Washington  Allston.  Inventor  of  the  Morse 
Telegraphic  System. 

141  Portrait  of  Moss  Kent. 

Lent  by  the  Copley  Gallery. 

MOUNT,  William  Sidney,  N.  A.^ 
Born  at  Setauket  in  1807.  Died  in  New  York,  1868.  Began 
as  a  scene-painter.  Practiced  his  art  in  New  York  from 
1829  to  1868. 

142  Portrait  of  Martin  Van  Buren. 

Lent  by  Mr.  William  Macbeth. 

NEAGLE,  John. 
Born  in  Philadelphia,  Pa.,  1799.  Died  1865.  Apprenticed 
to  a  coach  painter,  at  nineteen  he  devoted  himself  to  the 
study  of  his  art.  He  settled  in  New  Orleans;  married  a 
daughter  of  Thomas  Sully,  whose  pupil  he  had  been; 
returned  to  Philadelphia  and  spent  the  rest  of  his  life 
there. 

143  Portrait  of  M.  L.  Hurlburt,  Esq.  Dated  1840. 

The  John  Huntington  Collection. 

OTIS,  Bass. 

Born  in  1784.  Died  in  1861. 

144  Portrait  of  Miss  Latrobe. 

Lent  by  Mr.  Albert  Rosenthal. 

41 


THE  CLEVELAND  MUSEUM 

PEALE,  Charles  Willson. 
Born  at  Chestertown,  Md.,  1741.  Died  at  Philadelphia, 

1827.  Was  apprenticed  to  a  saddler  in  Annapolis,  but  took 
lessons  from  an  English  painter  to  whom  he  gave  a  saddle 
in  payment.  He  went  to  Boston  in  1768  and  was  encour- 
aged by  Copley.  A  number  of  gentlemen  of  Annapolis 
raised  a  sum  of  money  as  a  loan,  with  which  he  went  to 
London  in  1760  with  letters  to  West.  The  kindly  Quaker 
painter  received  him  warmly  and  even  took  him  into  his 
own  house  when  his  funds  ran  low.  Peale  returned  to 
Annapolis  in  1774  and  went  to  Philadelphia  two  years  lat- 
er to  join  Washington's  army.  In  1779  he  returned  to 
Philadelphia  and  represented  that  city  in  the  Pennsyl- 
vania legislature.  During  all  this  he  never  gave  up  his 
art.  In  1805  he  was  instrumental  in  founding  the  Penn- 
sylvania Academy  of  Fine  Arts. 

145  Portrait  of  George  Washington. 

Lent  by  Mrs.  George  Reuling. 

146  Portrait  of  Mrs.  David  Forman  and  Child. 

Lent  by  Messrs.  Knoedler  and  Company. 

147  Portrait  of  Col.  Tench  Tilghman,  Aide-de-Camp  of  Gen. 
Washington. 

Lent  by  Mr.  Albert  Rosenthal. 

PEALE,  Rembrandt. 
Born  in  Bucks  County,  Penn.,  1778.  Died  in  Philadelphia, 
i860.  Son  of  Charles  W.  Peale.  (q.v.)  Set  up  as  a  por- 
trait painter  in  Charleston,  S.  C,  in  1796.  Studied  in  Eng- 
land under  West  from  1801  to  1804,  returning  to  Phila- 
delphia in  1809. 

148  Portrait  of  Gen.  George  Washington.  Crayon. 

The  Hinman  B.  Hurlbut  Collection. 

STUART,  Gilbert. 
Born  at  Narragansett,  R.  I.,  1755.  Died  in  Boston,  Mass., 

1828.  He  was  taught  painting  in  New  York  by  a  Scotch- 
man, Cosmo  Alexander,  with  whom  he  finally  went  to 
Glasgow  in  1772.  In  1775  he  was  again  in  Great  Britain, 
where  Benjamin  West  took  him  under  his  protection, 
employed  him  as  assistant,  and  introduced  him  to  the 

42 


COLONIAL  ART 

London  public.  He  returned  to  the  United  States  in  1792, 
and  worked  successively  in  New  York,  Philadelphia, 
and  Washington,  finally  settling  in  Boston. 

149  Portrait  of  Jonathan  Amory. 

Lent  by  Messrs.  R.  C.  and  N.  M.  Vose. 

150  Portrait  of  Bishop  Hobart. 

Lent  by  Mr.  William  Macbeth. 

151  Portrait  of  George  Washington.    . 

152  Portrait  Sketch  of  Sir  Henry  Clinton. 

153  Portrait  of  Miss  King. 

154  Portrait  of  Mr.  Wolcott. 

Lent  by  Mr.  Albert  Rosenthal. 

155  Portrait  of  George  Washington. 

Lent  by  Mr.  Jonce  L  McGurk. 

SULLY,  Thomas. 
Born  at  Horncastle,  Lincolnshire,  England,  1783.  Died  at 
Philadelphia,  Pa.,  1872.  Came  to  Charlestown  as  a  child  in 
1792;  removed  to  New  York  in  1806,  and  thence  to  Boston 
in  1808,  where  he  studied  under  Gilbert  Stuart.  In  1809  he 
went  to  London  and  worked  with  Benjamin  West,  return- 
ing and  settling  in  Philadelphia,  in  18 10.  He  revisited 
England  in  1837,  ^^^  painted  a  portrait  of  Queen  Vic- 
toria. 

156  Portrait  of  Captain  Jean  T.  David. 

157  Portrait  of  Mrs.  Mary  Sicard  David. 

The  John  Huntington  Collection. 

158  Domesticity. 

Lent  by  Mrs.  Orrel  A.  Parker. 

TRUMBULL,  John. 
Born  at  Lebanon,  Conn.,  1756.  Died  at  New  York,  1843. 
Son  of  Jonathan  Trumbull,  the  Colonial  Governor  of  Con- 
necticut. Graduated  at  Harvard.  Served  in  the  Revolu- 
tionary war,  attaining  the  rank  of  Colonel  and  was 
aide-de-camp  to  Washington.  In  1777  he  resigned  from 
the  army  and  went  to  London  to  study  under  West, 
returning  home  in  1782.  In  1794  he  accompanied  John 

43 


THE  CLEVELAND  MUSEUM 

Jay  to  England  as  Secretary  of  Legation.  He  settled  in 
New  York  in  1804  as  a  portrait  and  historical  painter. 
Was  President  of  the  Academy  of  Fine  Arts  from  18 16 
to  1825. 

159  Portrait  of  George  Washington  at  Trenton. 

Lent  by  Mrs.  George  Reuling. 

160  Portrait  of  Gen.  Ebenezer  Huntington. 

Lent  Anonymously. 

VANDERLYN,  John. 
Born  at  Kingston,  N.  Y.,  1776.  Died  there,  1852.  Pupil 
of  Gilbert  Stuart.  Studied  in  Paris  from  1796  to  1801  and 
continued  to  live  and  paint  there  from  1803  to  18 15.  Re- 
ceived a  gold  medal  in  the  Salon  of  1807  from  Napoleon  L 
On  his  return  to  the  United  States  in  18 15  he  settled  in 
New  York. 

161  Portrait  of  Capt.  Charles  Sargent. 

Lent  by  Mr.  George  H.  Ainslie. 

WEST,  Benjamin,  P.  R.  A. 
Born  at  Springfield,  Penna.,  1738.  Died  in  London,  Eng- 
land, 1820.  A  Quaker,  self-taught  as  a  painter.  He  set  up 
as  a  portrait  painter  in  Philadelphia  in  1756.  Removed 
to  New  York  and  in  1760  went  to  Italy  where  he  remained 
for  three  years.  In  1763  he  settled  in  London  where  he 
enjoyed  great  success.  George  III  made  him  his  his- 
torical painter  in  1772.  He  was  an  original  member  of 
the  Royal  Academy  in  1768  and  its  President  in  1792, 
resigning  the  office  in  18 15.  His  chief  contribution  to  the 
progress  of  his  art  was  the  abandonment  of  classic  for 
contemporary  costume  in  the  representation  of  historical 
subjects.  He  showed  immense  kindness  to  those  of  his 
fellow  countrymen  who  went  to  Europe  to  study  art,  and 
almost  every  one  of  them  who  became  of  importance  owed 
much  to  his  teaching. 

162  Portrait  of  Joseph  Shippen. 

Lent  by  Mr.  Prescott  Huidekoper. 

163  Portrait  of  the  Duke  of  York. 

Lent  by  Messrs.  R.  C.  and  N.  M.  Vose. 

44 


GALLERY  II— GOTHIC  ART 


GOTHIC,  although  a  misnomer,  is  too  firmly  established,  as 
-  the  description  of  a  style  in  art,  to  be  abandoned  now.  It  is 
used  to  describe  the  art  of  the  period  which  intervened 
between  the  decline  of  Byzantine  and  Romanesque,  and  the  rise  of 
Renaissance  Art  in  Europe.  Not  that  either  the  beginning  or  end 
of  these,  or  any  other  periods  in  the  arts,  is  an  absolutely  fixed  date 
or  is  contemporaneous  in  all  the  countries  in  which  they  appear. 
Revolutions  in  art,  as  in  other  human  activities,  occur  rarely,  and 
progress  is  usually  achieved  by  the  almost  insensible  melting  of 
one  phase  into  another. 

It  may  safely  be  assumed  that  this  splendid  art  had  its  birth 
in  France,  at  a  time  when  even  in  Italy,  art  was  at  its  lowest  ebb. 
There  is,  at  least,  no  doubt  that  this  is  true  of  Gothic  sculpture. 
Nicola  Pisano's  famous  Pisan  pulpit  was  executed  in  1260,  and 
Guido  da  Como's  at  Pistoja  perhaps  in  1250,  but  by  this  time  the 
church  of  St.  Denis  had  been  built  in  1 137,  the  Porch  of  St.  Anne 
of  Notre  Dame,  Paris,  had  been  carved  in  about  1200;  the  cathe- 
drals of  Chartres  begun  in  1194,  Laon  in  1210,  Rheims  in  121 1, 
Amiens  in  1215,  and  the  Ste.  Chapelle  of  Paris,  esteemed  the  cul- 
minating eflFort  of  French  Gothic,  was  consecrated  in  1248.  Since, 
during  this  period,  sculpture  was  more  closely  allied  with  archi- 
tecture than  any  other  in  the  history  of  art,  except  the  Assyrian 
and  Egyptian,  these  dates  enable  us  to  follow  its  growth  and  prog- 
ress with  satisfactory  certainty.  The  art  as  a  whole  was  essen- 
tially, though  not  exclusively,  ecclesiastical, — that  is  to  say,  the 
cathedral  is  its  most  complete  expression,  and  it  was  carried  by 
priests  into  the  rest  of  Europe. 

French  architects  built  the  existing  cathedral  of  Canterbury 
in  1 174,  and  the  other  great  EngHsh  Gothic  cathedrals  followed, 
Salisbury  from  1220  to  1258,  and  Westminster  from  1245  to  1269, 
being  among  the  latest. 

Gothic  art  was  introduced  into  Germany  in  1209,  and  Italy 
toward  the  end  of  the  Thirteenth  century,  in  the  same  manner 
and  by  the  same  means;  French  crusaders  carried  it  even  to  Cyprus 
and  Syria. 

45 


THE  CLEVELAND  MUSEUM 

In  France  sculpture  developed  concurrently  with  the  archi- 
tecture from  the  end  of  the  Eleventh  to  the  end  of  the  Twelfth 
century,  culminating  in  the  first  half  of  the  Thirteenth.  By  the  Fif- 
teenth century  the  first  burst  of  religious  enthusiasm  had  exhaust- 
ed itself,  and  while  the  art  was  more  skilful  technically,  it  was  less 
inspired.  As  early  as  the  beginning  of  the  Fifteenth  century,  the 
influence  of  the  Italian  Renaissance  made  itself  felt  throughout 
Europe,  and  Gothic  art  slowly  gave  way  before  it.  It  developed 
rather  more  suddenly  than  it  waned,  but  by  1500  or  shortly  there- 
after, had  given  way  before  the  Renaissance,  even  in  England 
where  it  lingered  longest  in  domestic  architecture. 

The  civil  and  foreign  wars,  culminating  in  the  defeat  at  Agin- 
court  in  141 5,  temporarily  ruined  the  French  monarchy  and  its 
capital,  the  city  of  Paris.  The  arts  fled  to  Burgundy  and  Flanders, 
where  the  power  of  the  Dukes  and  the  prosperity  of  the  great  trad- 
ing cities  off"ered  them  a  safe  refuge,  and  the  latest  flowers  of  Gothic 
art  are  Flemish. 

French  Gothic  sculpture  was  in  many  senses  more  truly  an 
art  of  renaissance  than  that  of  Italy,  which  it  antedates.  Nowhere 
in  Europe  for  over  a  thousand  years  had  any  sculpture  been  made 
such  as  is  to  be  found  at  Rheims,  if  any  of  it  survives  the  recent 
destruction;  this  dates  from  about  1250.  Indeed,  Roman  art,  which 
comes  nearest  to  it  in  point  of  time,  is  not  to  be  compared  with  it 
in  quality.  The  art  with  which  it  has  the  closest  affinity  is  Greek, 
of  the  Fifth  century  B.C.,  say  from  500  to  450,  though  it  hardly  is 
to  be  believed  that  the  French  imagiers  were  familiar  with  Greek 
originals.  Even  in  its  earliest  phases,  in  the  South  and  East,  it  be- 
trayed a  strong  tendency  toward  realism,  and  this  is  a  character- 
istic note  of  its  progress,  even  at  the  time  when  it  devoted  itself 
to  the  representation  of  the  most  sacred  subjects.  Viollet  le  Due,  the 
great  French  authority  on  this  subject  says:  "The  fertihty  of  the 
arts  of  the  Thirteenth  century,  particularly  of  its  sculpture,  was 
prodigious.  Even  today  after  more  than  six  centuries  of  devastation 
and  neglect,  more  examples  of  medieval  sculpture  remain  in  France 
than  in  all  the  rest  of  Europe  together.  From  the  middle  of  this 
century,  works  of  the  highest  class  abound  not  only  in  the  cathe- 
drals and  public  buildings,  but  small  churches  and  even  private 
houses,  were  embellished  with  works  of  art  of  excellent  execution 
and  irreproachable  in  style.  The  artists  must  have  gone  everywhere, 
and  sculpture  seems  to  have  been  an  art  of  the  first  necessity." 

46 


GOTHIC  ART 

1  TAPESTRY. 

Millefleurs;  with  figures  of  Louis  de  Beaufort,  Lord  of 
Aubusson  and  Jeanne,  his  wife,  with  their  coat-of-arms. 
Woven  for  their  marriage  in  1426. 

French.  XV  Century. 

Lent  by  the  Messrs.  Duveen. 

2  GROUP:  OLD  MAN  AND  OLD  WOMAN. 

Wood,  colored  and  gilt. 

Flemish.  Late  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

3  YOUNG  GIRL. 

Half  length.  Stone,  colored. 

French.  School  of  Champagne.  Late  XIV  or  early  XV 

Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

4  TAPESTRY. 

From  the  same  series  as  No.  i. 
French.  XV  Century. 
Lent  by  Mrs.  Stephen  Pell. 

5  COPE. 

Cut  velvet,  violet  with  an  apricot  ground.  The  orphreys 
of  needlework  in  silk,  gold  and  silver  show  tiers  of  saints 
in  niches. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

6  FRAGMENT. 

Stone. 

French.  Late  XVI  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

7  CARVED  CHEST. 

Wood.  From  the  Sacristy  of  Chartres  Cathedral. 
XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

8  ST.  SEBASTIAN. 

Stone.  From  a  castle  in  Touraine. 
French.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

47 


THE  CLEVELAND  MUSEUM 

9  CHOIR  OF  ANGELS. 

Marble,  with  traces  of  gilding. 
French.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

10  TAPESTRY. 

The  Crucifixion,  with  other  episodes  of  the  Passion  and 
the  Resurrection. 

Brussels.  End  of  the  XV  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

11  VIRGIN  AND  CHILD. 

Stone. 

French.  XV  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

12  VIRGIN  AND  CHILD  BENEATH  A  CANOPY. 

Stone.  From  the  Cathedral  of  Tournai. 
Flemish.  XIV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

13  CUT  VELVET. 

Green  with  a  primrose  ground. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

14  GROUP  FROM  A  CRUCIFIXION. 

Wood. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

15  RELIEF:  THE  VIRGIN  AND  ST.  ELIZABETH. 

Wood. 

Flemish.  Late  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

16  PANEL. 

Wood,  carved  with  Flamboyant  tracery  in  relief. 
French.  XVI  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

17  VIRGIN  AND  CHILD. 

Wood.  The  heads  are  restorations,  the  pedestal  of  later 
date. 

French.  XII  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

48 


GOTHIC  ART 

i8  VELVET  BROCADE. 

Violet,  with  a  cloth-of-gold  ground. 
Italian.  XVI  Century. 
The  John  Huntington  Collection. 

19  TAPESTRY. 

The  Prophecy  of  Nathan. 
Brussels.  About  1500  A.  D. 
Lent  by  Mr.  Edward  A.  Faust. 

20  STATUETTE. 

Wood.  Man  Lamenting. 
German.  XVI  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

21  CREDENCE. 

Wood. 

XV  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

22  STATUE.  Donatrix:  A  Queen. 

French.  XIV  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

23  CASSONE. 

Wood.  Carved,  painted  and  gilt.  The  panels  show  traces 
of  shields  of  arms.  Half  of  the  front  opens  as  a  door,  dis- 
closing three  drawers.  The  centre  panel  of  the  front  and 
the  fronts  of  the  drawers  are  carved  with  Flamboyant 
Gothic  tracery.  The  inside  has  been  painted;  much  of 
this  remains  on  the  lid. 

North  Italian.  Probably  late  XV  Century. 

The  John  Huntington  Collection. 

24  VIRGIN  AND  CHILD. 

Wood,  with  traces  of  color. 

French.  XII  Century.  *    * 

Lent  by  Mr.  Henry  Golden  Dearth. 

25  COLUMN. 

Stone. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

49 


THE  CLEVELAND  MUSEUM 

26  SILK  BROCADE. 

Crimson  and  silver.  Fragment  of  a  border,  woven  with  the 
Assumption  of  the  Virgin  twice  repeated.  These  borders 
were  woven  for  vestments  and  altar  furniture. 

ItaHan.  XVI  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

27  TAPESTRY. 

Millefleurs. 

French  XVI  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

28  STAINED  GLASS. 

French.  Early  XIV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

29  MOURNER:  FIGURE  FROM  A  TOMB. 

Marble. 

Burgundian.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

30  KNIGHT  IN  ARMOR. 

Wood. 

Flemish.  XV  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

31  BRACKET. 

Stone. 

French.  Late  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

32  VIRGIN  AND  CHILD. 

Stone,  with  traces  of  color. 

French.  He  de  France.  Late  XIV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

33  FRONT  OF  CHASUBLE. 

Cut  velvet.  Crimson. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

34  BRACKET. 

Stone. 

French.  Early  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

35  ST.  MICHAEL. 

Wood. 

Flemish.  XV  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

50 


GOTHIC  ART 

36  BRACKET. 

Stone. 

French.  Late  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

37  MOURNER:  FIGURE  FROM  A  TOMB. 

Marble. 

Burgundian.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

38  IRON  GRILLE. 

French.  XIII  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

39  STAINED  GLASS. 

French.  Early  XIV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

40  DO9R. 

With  carved  panels. 
Late  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

41  DOOR  AND  FRAME. 

Wood. 

Probably  French.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

42  STATUE. 

Wood,  carved  and  painted.  St.  Martin. 
Flemish.  XVI  Century. 
The  John  Huntington  Collection. 

43  TAPESTRY. 

St.  Ursula  and  the  Eleven  Thousand  Virgins  setting  sail 
from  Britain. 

German.  End  of  the  XV  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

44  TAPESTRY. 

St.  Ursula  and  the  Eleven  Thousand  Virgins  martyred  by 
the  Huns  in  Cologne. 

German.  End  of  the  XV  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

51 


GALLERY  III— RENAISSANCE  ART 


THE  dawn  of  the  Renaissance  came  in  Italy  in  the  first  half 
of  the  Thirteenth  century.  What  may  be  called  a  false  dawn 
foreshadowed  the  day,  in  Apulia  in  1240,  in  the  shape  of  a 
small  school  of  sculptors  and  medallists,  but  the  date  from  which  it 
is  custornary  to  reckon  is  1260,  when  one  of  these  Apulian  artists, 
Nicola  Pisano,  as  he  was  afterward  called,  set  up  in  the  Baptistery 
of  Pisa  a  Gothic  pulpit  the  bas-reliefs  of  which  are  full  of  antique 
influence.  He  was,  however,  an  individual  genius,  and  his  son 
Giovanni  was  a  pure  realist  of  the  Gothic  school,  the  first  to  prac- 
tice this  form  of  art  in  Italy. 

The  revival  in  painting  took  place  in  Siena,  where  Duccio, 
1 255-13 19,  was  the  first  to  attempt  a  departure  from  Byzantine 
formality.  Some  of  his  immediate  successors  were  even  better 
painters  than  he,  but  the  school  was  not  destined  to  a  long  life. 

The  first  great  Florentine  painter,  Giotto,  was  in  every  way 
the  superior  of  these  Sienese  artists.  He  died  in  1336,  and  left 
behind  him  a  flourishing  school  whose  influence  pervaded  all  Italy. 
Donatello,  1386-1466,  and  Masaccio,  1401-1428,  set  the  example 
in  a  movement  towards  nature,  which  saved  Florentine  art  from 
the  insipidity  towards  which  the  Giottesque  school  was  tending. 
This  reaction  led  by  way  of  Verrocchio  1435-1488,  and  Signorelli, 
1441-1523,  to  Lionardo  da  Vinci,  and  Michelangelo,  1475-1564, 
with  whom  and  Raphael,  1483-1520,  the  Renaissance  culminated. 

The  art  of  the  Renaissance  in  Italy  was  by  no  means  confined  to 
Florence.  Every  city  of  consequence  in  the  peninsula  had  its  school, 
and  some  of  them  were  as  important  as  the  Florentine.  Chiefest 
among  them  was  the  Venetian.  This  school  rose  to  prominence 
somewhat  late.  The  first  of  its  great  masters  was  Giovanni  Bellini, 
1430-15 1 6.  He  lived  eighty-six  years,  and  has  been  well-described 
as  a  school  in  himself  rather  than  a  single  painter.  Giorgione,  1478- 
15 10,  was  his  pupil,  and  the  greatest  of  the  Venetians,  Titian, 
1490-1575,  studied  with  them  both.  Tintoretto,  1518-1595,  and 
Paolo  Veronese,  1 528-1 588,  complete  the  roll  of  the  Venetian 
giants  of  the  Renaissance,  though  Tiepolo,  1696-1770,  carried  on 
the  tradition  later  here  than  elsewhere  in  Italy,  or  even  in  the  rest 
of  Europe. 

53 


THE  CLEVELAND  MUSEUM 

Renaissance  architecture  in  Italy,  properly  so-called — that 
is  to  say,  a  conscious  imitation  of  classical  work — may  be  said  to 
have  begun  with  Brunelleschi,  1377-1444,  and  Bramante,   1444- 

1514- 

An   independent   Renaissance   has   with   some  justice    been 

claimed  for  Flanders,  where  in  the  beginning  of  the  Fifteenth 
century,  a  few  sculptors  and  many  painters  were,  in  some  respects, 
more  advanced  than  the  Italians,  but  the  rest  of  Europe  was  con- 
tent to  learn  of  Italy.  Germany  produced  Diirer,  1471-1528,  and 
Holbein,  1497-1543,  both  of  whom  studied  in  Italy,  and  the  great 
French  artists  of  this  period,  Pilon  and  Goujon,  were  Italianate. 

In  the  Seventeenth  century  Spain  took  up  the  torch  which 
was  shpping  from  the  grasp  of  Italy,  and  Velasquez,  1599-1 666, 
was  the  great  painter  of  that  day. 

This  supremacy  was  not  uncontested  in  the  north,  where  the 
Dutchmen,  Hals,  1 581-1666,  Rembrandt,  1606-1669,  and  Rubens, 
1 577-1640,  carried  their  art  to  a  point  unsurpassed  even  by  the 
great  Spaniard. 

Rubens  and  his  pupil  Van  Dyck,  1 599- 1 631,  although  for- 
eigners, were  really  the  fathers  of  English  painting;  still,  before 
their  arrival  a  few  gifted  miniaturists  had  reflected  in  the  British 
Isles  the  glories  of  continental  art. 

For  convenience  the  art  of  the  Eighteenth  century  is  grouped 
with  that  of  the  Renaissance,  properly  so-called,  and  in  one  sense 
there  has  been  no  lack  of  continuity,  although  even  in  Italy  (with  the 
exception  of  Venice,  as  has  been  noted)  the  great  tradition  had  been 
utterly  lost.  With  the  exception  of  Goya,  1746-1826,  in  Spain, 
Eighteenth  century  art  is  French  and  English.  Watteau,  1684- 
1721,  Fragonard,  1732-1886,  and  Houdon,  1741-1828,  the  sculptor, 
were  the  greatest  of  the  Frenchmen,  while  Hogarth,  1697-1764, 
Reynolds,  1732-1792,  Gainsborough,  1727-1788,  and  Romney,  1734- 
1802,  worthily  bore  aloft  the  English  standard.  Despite  the  un- 
questioned merits  of  Raeburn  and  Lawrence  the  tradition  failed 
in  England  soon  after  the  death  of  the  latter  in  1830,  and  though 
David,  1748-1825,  and  Prudhon,  1758-1823,  worked  in  the  Eigh- 
teenth century  manner  into  the  first  quarter  of  the  Nineteenth, 
modern  art,  so  far  as  one  may  be  allowed  these  arbitrary  different- 
iations, may  be  said  to  have  begun  with  the  fall  of  the  Empire  in 
France. 

The  minor  arts  of  the  Renaissance  group  themselves  naturally 
under   the  major.   Furniture  was  more   than  ever  architectural; 

54 


RENAISSANCE  ART 


tapestry,  the  arts  of  the  weaver  and  of  the  embroiderer  were  con- 
trolled by  painting;  and  armor,  goldsmithing  and  jewelry  were  not 
infrequently  the  work  of  the  sculptor  himself.  So  it  is  that  until 
quite  the  end  of  the  period  a  general  knowledge  of  the  three  great 
arts  enables  us  to  date  other  works  of  art  with  reasonable  precision. 
Not,  of  course,  that  the  objects  of  common  life  were  all  the  work 
of  artists,  but  that  the  people,  in  our  modern  sense  of  the  word, 
had  little  or  nothing  to  do,  except  as  producers,  with  art,  which  was 
the  prerogative  of  the  great  and  wealthy.  The  relics  which  have 
survived  to  our  day  are  the  casque  of  this  great  leader,  or  the  neck- 
lace of  that  princess,  a  royal  couch  or  a  noble's  wall  hangings,  and 
these  were  designed  and  often  executed  by  the  greatest  artists  of 
the  day.  Toward  the  end  of  the  Seventeenth  century,  chiefly  at  the 
luxurious  court  of  Louis  XIV,  there  came  to  the  front  a  class  of 
artisans  whose  talents  have  raised  them  to  the  rank  of  artists. 
They  devoted  themselves  entirely  to  the  designing  and  making  of 
household  furniture  and  objects  of  luxury  for  the  monarch  and  his 
nobles.  During  the  Eighteenth  and  Nineteenth  centuries  this  taste 
spread  from  France  to  the  rest  of  Europe,  and  the  names  of  Boule, 
CaflFieri,  Gouthiere,  and  Roentgen,  Chippendale,  Adam,  Heppel- 
white  and  Sheraton,  are  as  famous  as  those  of  any  of  the  other 
artists  of  their  day. 

1  SILK  BROCADE. 

On  a  crimson  ground,  an  ogee  pattern  with  flowers  in  blue 
and  gold. 

Itahan.  XVI  or  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

2  TAPESTRY. 

Silk  and  gold.  The  Burning  of  the  Numidian  Camp.  An 
episode  of  the  Second  Punic  war  under  Scipio  Africanus. 
From  a  cartoon  by  Giulio  Romano. 

Early  XVI  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

3  CHAIR. 

Walnut.  Seat  covered  with  red  velvet.  Louis  XIV  style. 
English  or  French.  XVII  Century. 
The  John  Huntington  Collection. 

55 


THE  CLEVELAND  MUSEUM 

4  BEDSTEAD. 

Wrought  iron.  With  four  posts,  a  canopy  and  head-piece. 
Itahan.  XVII  Century. 
Purchased  from  the  Dudley  P.  Allen  Fund. 

5  BEDSPREAD. 

Gold  and  silver  and  green  silk  brocade. 
Italian.  XVII  or  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

6  CHAIR. 

Walnut.  Seat  covered  with  red  velvet.  Louis  XIV  style. 
English  or  French.  XVII  Century. 
The  John  Huntington  Collection. 

7  RELIEF. 

Stone.  Madonna  and  Child. 

French.  XVI  Century.  Showing  Italian  influence. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

8  TABERNACLE. 

Marble,  colored  and  gilt. 
Italian.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

9  TAPESTRY. 

Joseph  Sold  by  his  Brethren.  From  the  Rospigliosi  Col- 
lection. 

Brussels.  XVI  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 
lo  PORTION   OF   THE   WALNUT   PANELING   OF   A 
SACRISTY,  OR  OF  A  CHOIR. 
Five  panels  separated  by  six  pilasters  surmounted  by  a 
',    cornice.  The  panels,  the  styles  round  them  and  the  frieze 
are  ornamented  with  intarsia  work.  The  panels  contain: 
one,  the  Resurrection;  the  four  others,  decorative  arrange- 
ments of  palms  and  lilies  in  two,  olives  and  pinks  in  others. 
In  all  four  is  the  Medici  badge  of  a  jewelled  ring  wound 
with  a  ribbon  or  bannerole,  on  which  is  inscribed  the 
motto  Semper.  The  frieze  contains  part  of  a  quotation  in 
the  Vulgate  from  Paul's  epistle  to  the  Romans,  Chapter 
XI. 

Florentine.  XVI  Century. 

The  John  Huntington  Collection. 

56 


RENAISSANCE  ART 

11  BAS  RELIEF. 

Marble.  Infant  St.  John.  Donatello  1386-1466.  From  the 

Horace  Walpole  and  Dilke  Collections. 

Florentine.  * 

Lent  by  a  trustee  of  Sir  Charles  Dilke's  Estate. 

12  RELIEF. 

Terra-cotta.  Madonna  and  Child. 
Donatello.  1383-1466. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

13  ARMCHAIR. 

Walnut.  Tooled  leather  seat  and  back,  restored. 
Itahan  or  French.  XVII  Century. 
The  John  Huntington  Collection. 

14  MIRROR  FRAME. 

Wood  carved,  painted  and  gilt. 
Itahan.  XVII  Century. 
The  John  Huntington  Collection. 

15  RELIEF. 

Stucco.  Madonna  and  Child. 
Rosselhno.  1428-1478. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

16  ARCHITECTURAL  WOOD  CARVINGS. 

French.  Regence.  XVIII  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

17  ARMCHAIR. 

Walnut.  Tooled  leather  seat  and  back,  restored. 
Italian  or  French.  XVII  Century. 
The  John  Huntington  Collection. 

18  TAPESTRY. 

La  Diseuse  de  Bonne  Aventure    (The  Fortune  Teller). 
From  a  cartoon  by  Fran9ois  Boucher. 

French.  Beauvais. 

Lent  by  the  Messrs.  Duveen. 

19  SIDE  TABLE. 

Walnut. 

Itahan.  XVI  Century  style. 
The  John  Huntington  Collection. 

57     - 


THE  CLEVELAND  MUSEUM 

20  PAIR  OF  KNEELING  ANGELS. 

Wood  carved  and  gilt. 
Florentine.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

21  LECTERN. 

Wood  and  gesso.  Probably  originally  gilt.  At  the  back  of 
the  book-rest  are  the  arms  of  Pope  Alexander  VII,  who 
was  of  the  Chigi  family. 

Italian.  Barocco.  XVII  Century. 

The  John  Huntington  Collection. 

22  RELIEF.  VIRGIN  AND  CHILD. 

Terra-cotta.  Delia  Robbia. 
Florentine.  XV  Century. 
Gift  of  Mrs.  Liberty  E.  Holden. 

23  TRIPOD  BRAZIER. 

Wrought  iron  and  copper. 
Italian.  XV  Century. 
Purchased  from  the  Dudley  P.  Allen  Fund. 

24  TAPESTRY. 

Daphnis  and  Chloe.  Woven  by  Michel  Audran  from  a 
cartoon  by  Etienne  Jeaurat. 

Gobelins.  XVIII  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

25  BUFFET. 

Wood. 

Italian.  XVII  Century  style.  ^ 

The  John  Huntington  Collection. 

26  BUST. 

Marble.  Francesco  Gonzaga  as  a  child.  Gian  Cristoforo 
Romano.  1465-1512. 

Lent  by  Sig.  A.  Canessa. 

27  STATUETTE. 

Bronze.  Venus  and  Cupid. 
Alessandro  Vittoria.  1 525-1608. 
Lent  by  Sig.  A.  Canessa. 

S8 


RENAISSANCE  ART 

28  RELIEF. 

Marble,  with  traces  of  color.  Pieta.  Probably  by  a  Flemish 
artist. 

Spanish  1 500-1 530  A.D. 

Gift  of  Mr.  Jacques  Seligman. 

29  RELIEF. 

Glazed  terra-cotta.  St.  John. 
School  of  Delia  Robbia. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

30  STATUETTE. 

Bronze.  Venus  and  Cupid. 

Alessandro  Vittoria.  1 525-1608. 
Lent  by  Sig.  A.  Canessa. 

31  TAPESTRY. 

Daphnis  and  Chloe.  Woven  by  Michel  Audran  from  a 
cartoon  by  Etienne  Jeaurat. 

Gobelins.  XVIII  Century. 

Lent  by  Messrs.  P.  W.  French  and  Company. 

32  LEAF  FROM  A  CHOIR  BOOK. 

Illuminated  initial  "S"  in  gold  and  color. 
Italian.  XV  Century. 
Lent  by  Mr.  Hervey  E.  Wetzel. 

33  CASSONE. 

Walnut.  Paneled;  a  shield  of  arms  carved  on  front. 
Italian.  Late  XVI  or  early  XVII  Century. 
The  John  Huntington  Collection. 

34  PAIR  OF  KNEELING  ANGEL  TORCHBEARERS. 

Wood  carved  and  gilt. 
Venetian.  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

35  LAVABO. 

Wrought  iron  and  copper. 
Italian.  XVI  Century. 
Purchased  from  the  Dudley  P.  Allen  Fund. 

36  RELIEF. 

Glazed  terra-cotta.  Madonna  and  Child. 
School  of  Delia  Robbia. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

59 


THE  CLEVELAND  MUSEUM 

37  ARMCHAIR. 

Walnut.  Velvet  covered. 

French.  Henri  II  style.  XVI  Century. 
The  John  Huntington  Collection. 

38  BALUSTRADE. 

Walnut.  In  two  parts.  Perhaps  from  an  altar  or  the  alcove 
of  a  bedroom. 

Itahan.  Late  XVI  Century. 

The  John  Huntington  Collection. 

39  STATUE.  KNEELING  VIRGIN. 

Terra-cotta.  Giovanni  Delia  Robbia.   1469 — 1530. 
Lent  by  Mrs.  Benjamin  Thaw. 

40  CABINET. 

Walnut.  In  two  stories.  From  the  Moreau-Nelaton  Col- 
lection. 

French.  Henri  II  style.  XVI  Century. 

The  John  Huntington  Collection. 

41  BUST. 

Wood  carved,  painted  and  gilt.  St.  Paul. 
South  German.  About  1500. 
The  John  Huntington  Collection. 

42  PLATE. 

Pesaro  ware.  Decorated  with  scene  of  war  between  the 
Israelites  and  the  Philistines  near  Betulia.  On  the  back 
is  an  inscription  with  the  signature  of  the  artist:  1542 
Fra  Gironimo. 

XVI  Century. 

Lent  by  Sig.  A.  Canessa. 

43  PLATE. 

Urbino  ware.  Lustred.  Decorated  with  scene  of  war.  On 
the  back  is  an  inscription  with  the  signature  of  the  artist, 
"4  de  October  1523.  Maestro  Giorgio  da  Gubbio." 

XVI  Century. 

Lent  by  Sig.  A.  Canessa. 

60 


RENAISSANCE  ART 

44  PLATE. 

Urbino  ware.  Lustred.  Decorated  with  a  scene  of  Parnas- 
sus. On  the  back  is  the  signature  of  the  artist,  A.  S.  (An- 
driolo  SaHmbene). 

XV  Century. 

Lent  by  Sig.  A.  Canessa. 

45  CHASUBLE  FRONT. 

Cut  velvet.  Green  ground  with  pattern  in  red  and  silver. 
The  John  Huntington  Collection. 

46  PIETA. 

Florentine  School.  1 560-1 570. 

Gift  of  Mrs.  M.  L.  McBride  and  Mr.  P.  R.  McCurdy. 

47  SALVATORE  ROSA. 

Portrait  of  Himself. 

The  Holden  Collection,  No.  31. 

48  VELVET  BROCADE. 

Crimson  pattern  on  a  gold  ground. 
French.  Late  XVII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

49  KNOCKER. 

Bronze. 

Itahan.  XVII  Century  style. 
The  John  Huntington  Collection. 

50  FAN. 

Mount,  mother-o '-pearl,  inlaid  with  gold  and  silver. 
Leaf,  painted  silk,  modern. 

French.  Louis  XV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

51  FAN. 

Tortoise-shell,  carved  and  decorated  with  gilding  and 
steel  inlay. 

French.  Empire. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

52  FAN. 

Horn,  carved,  inlaid  with  steel. 
French.  Empire. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

61 


THE  CLEVELAND  MUSEUM 

53  FAN. 

Tortoise-shell,  carved,  decorated  with  gilding,  steel  inlay 
and  miniature  landscapes  in  color. 

French.  Empire. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

54  FAN. 

Horn,  carved. 
French.  Empire. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

55  FAN. 

Horn,  carved,  decorated  with  gilding,  steel  inlay  and  a 
landscape  painted  in  color. 

French.  Empire. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

56  FAN. 

Ivory,  carved  and  decorated  with  gilding  and  color. 
French.  Empire. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

57  FAN. 

Ivory,  carved  and  decorated  with  gilding  and  painting  in 
color.  Vernis  martin.  Subject  on  one  side,  blindman's- 
buff,  on  the  other  a  landscape.  Panels  oi  chinoiseries. 

French.  Louis  XIV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

58  FAN. 

Mount,  mother-o'-pearl,  carved,  painted  and  gilt.  Leaf, 
chicken-skin  painted  in  color  with  a  subject  from  Ariosto 
in  the  style  of  Le  Brun. 

French.  Louis  XIV. 

Gift  of  Ml*,  and  Mrs.  J.  H.  Wade. 

59  FAN. 

Ivory,  inlaid  with  mother-o'-pearl,  painted  and  gilt.  Sub- 
jects, a  Fete  Champetre  on  one  side,  a  landscape  on  the  other. 
Panels  of  chinoiseries. 

French.  Louis  XIV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

62 


RENAISSANCE  ART 

60  FAN. 

Ivory,  carved,  decorated  with  panels  in  color,  in  gilt 
frames. 

Chinese,  for  the  French  market.  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

61  FAN. 

Mount,  ivory  carved  and  inlaid  with  gold,  silver  and 
mother-o'-pearl.  Leaf,  chicken-skin,  painted  with  a  land- 
scape with  classic  ruins. 

French.  Louis  XVI. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

62  FAN. 

Mount,  ivory  carved  and  inlaid  with  gold  and  silver. 
Leaf,  of  net  with  grotesque  appliques  and  painted  in  the 
style  of  Berain. 

French.  Louis  XIV  or  XV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

63  FAN. 

Mount,  ivory  carved  and  painted.  Leaf,  chicken-skin 
painted  with  Fete  Champetre. 

French.  Louis  XV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

64  FAN. 

Mount,  mother-o'-pearl,  carved  and  inlaid  with  gold  and 
silver.  Leaf,  chicken-skin,  in  two  parts,  painted  with  a 
Roman  Triumph  above  and  a  Camp  Scene  below. 

French.  Louis  XV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

65  FAN. 

Mount,  tortoise  shell,  carved  and  gilt.  Leaf,  chicken-skin, 
painted;  subjects,  on  one  side,  a  perversion  of  the  story  of 
Diana  and  Actseon;  on  the  other,  Amorini  at  play;  style 
of  Berain. 

French.  Louis  XV. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

66  SNUFF  BOX. 

Gilt,  enameled,  with  flowers  and  a  portrait  of  Carl  Theo- 
dore, Kurfiirst  v.  Bayern. 

German.  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

(>3 


THE  CLEVELAND  MUSEUM 
67  BONBONNI6RE. 

Bloodstone  mounted  with  gold  and  silver. 
French.  Louis  XVI. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

68  SNUFF  BOX. 

Gold.  Chased. 

French.  Louis  XVL 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

69  BONBONNIERE,  OR  PATCH  BOX. 

Gold,  chased  and  enameled,  with  representations  of  the 
jete  of  July  14th,  1790,  the  Feast  of  the  Federation. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

70  BOX. 

Enamel. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

71  BOOK. 

Etrennes  Interessantes  des  ^uatre  Parties  du  Monde ^  bound 
in  silk,  embroidered  and  spangled  with  gold.  On  each  side, 
is  the  miniature  of  a  woman. 

Dated  An  XIII  (i  804-1 805).  I"  de  I'Empire  a  Paris. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

72  TWO  CUPS  AND  SAUCERS  WITH  COVERS. 

and  Tortoise  shell  inlaid  with  gold  and  mother-o*-pearl. 

73  French. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

74  TRAY. 

Tortoise  shell  inlaid  with  gold,  in  the  style  of  Boule. 
French.  Louis  XIV. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

75  BOX. 

Horn,  with  top  and  bottom  of  ivory;  engraved  with  figures 
of  the  Virgin  and  sacred  emblems. 

Spanish. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

76  WATCH. 

Gilt;  pierced  and  engraved. 
German.  XVII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

64 


RENAISSANCE  ART 

77  ETUI  AND  CHATELAINE. 

Agate,  with  gilt  mounts. 
French.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

78  SCENT  BOTTLE. 

Enameled;  gilt  and  jeweled  mount. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

79  SCENT  BOTTLE. 

Enameled;  gold  top. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

80  SCENT  BOTTLE. 

Jade,  mounted  in  pierced  gold  work. 
French.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

81  SCENT  BOTTLE. 

Crystal;  silver  and  jeweled  mounts. 
French. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

82  SCENT  BOTTLE. 

Crystal,  mounted  in  pierced  gold  work. 
French.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

83  WATCH  IN  A  CRYSTAL  CROSS. 

Gilt  and  enameled  mount. 
Viennese.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

84  LOCKET. 

Gilt  and  enameled,  with  a  miniature  on  each  side.  The 
Madonna  and  St.  Christopher. 

Spanish.  XVII  or  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

85  SCENT  BOTTLE. 

Crystal;  mounted  with  silver  and  enamel. 
French. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

6S 


THE  CLEVELAND  MUSEUM 

86  SCENT  BOTTLE. 

Lapis-lazuli,  gilt  enameled  mounts  and  stopper  in  shape 
of  a  negro's  head.  Jeweled. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

87  SCENT  BOTTLE. 

Gold  enameled. 

French.  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

88  SNUFFBOX. 

Gold  enameled  with  a  miniature  on  top. 
French.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

89  SNUFFBOX. 

Gold,  painted  in  vernis  martin.  Shaped  like  a  book,  en- 
titled on  the  back  Uart  d* aimer. 

French.  Louis  XVI. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

90  ETUI. 

Tortoise  shell.  Mounted  with  gold,  painted  with  genre 
subjects  in  the  style  of  Greuze. 

French.  Louis  XVI. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

91  ETUI. 

Gold,  painted  with  Amourettes  in  grisaille. 
French.  Louis  XVI. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

92  SNUFFBOX. 

Gold,  repousse  and  enameled.  In  the  style  of  Dinglinger. 
Polish  or  Austrian.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

93  SNUFFBOX. 

Gold,  chased,  and  set  with  diamonds.  On  the  top  a  minia- 
ture of  Napoleon  I,  signed  and  dated  Isabey  18 10.  Inside 
is  inscribed  *'Precieux  souvenir  de  reconnaissance  donne  par 
VEmp'  Napoleon  I"  a  VAbbe  Bonavita^  son  aumonierJ' 

French.  18 10. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

66 


RENAISSANCE  ART 

94  SNUFFBOX. 

Ivory  and  tortoise  shell,  with  a  miniature  of  Frederick  the 
Great  on  the  top. 

German.  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

95  SNUFFBOX. 

Tortoise  shell  and  ivory,  with  pen  drawings  of  scriptural 
subjects. 

French.  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

96  BOX. 

Tortoise  shell.  Painted  in  vernis  martin,  with  a  Fair 
scene. 

French.  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

97  BOX. 

Silver-gilt  filagree.  The  cover  composed  of  a  piece  of  In- 
dian jade,  set  with  jewels  in  gold. 

Italian.  XIX  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

98  BONBONNI6RE  OR  SNUFFBOX. 

With  miniature  paintings  in  grisaille  on  ivory,  by  Degault. 
French. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

99  MUSICAL  BOX. 

Painted  with  genre  subjects  in  the  style  of  Teniers. 
Dutch. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

100  SNUFFBOX. 

Tortoise  shell.  Painted  on  the  cover  is  an  altar  crowned 
with  a  fasces  from  which  a  secret  spring  causes  a  bust  of 
Napoleon  as  First  Consul  to  rise. 

French.  Early  XIX  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

loi  INK  STAND. 

Bloodstone,  mounted  with  gold  and  jewels.  Gold  fittings. 
French.  Regence. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

67 


THE  CLEVELAND  MUSEUM 

102  PATCH  BOX. 

Gold,  chased,  enameled  and  set  with  diamonds. 
French.  Louis  XIV. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

103  BONBONNIERE. 

Enameled  inside  and  out.     The  Holy  Family  and  land- 
scapes with  figures. 

French.  Louis  XIII,  about  1643. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

104  SNUFFBOX.  .    :        . 

Gilt  set  with  miniature  paintings  in  the  style  of  Watteau. 
French.  Regence. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

105  SCENT  BOTTLE. 

Crystal  mounted  in  pierced  gold  work,  enameled. 
French.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

106  SCENT  BOTTLE. 

Ivory.  Gold  mounts. 
English.  XIX  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

107  VINAIGRETTE. 

Chalcedony,  in  the  shape  of  a  Lady  of  the  Court.  Set  with 
jewels  and  gold-mounted. 

French.  Louis  XV,  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

108  SCENT  BOTTLE. 

Bloodstone,  gold  mounted,  in  the  shape  of  a  shepherdess, 
carrying  a  lamb. 

French.  XVIII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

109  RING. 

Set  with  a  minute  landscape  painting. 
French.  XVIII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

68 


RENAISSANCE  ART 

iio  GIRDLE  ORNAMENTS. 

Silver  gilt,  with  placques  of  enamel. 
Dutch.  XVII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

111  WATCH. 

Silver  gilt,  enameled. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

112  SCENT  BOTTLE. 

Enameled. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

113  BONBONNIERE. 

Silver  gilt;  enameled. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

114  SCENT  BOTTLE. 

Enameled. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

115  TOOTHPICK  CASE. 

Enameled. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

116  SCENT  BOTTLE. 

Porcelain. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

117  SCENT  BOTTLE. 

Porcelain.  Silver  gilt  neck,  set  with  garnets. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

118  PORTABLE  UNIVERSAL  SUN  DIAL. 

Silver.  Probably  made  at  Augsburg. 
XVII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

119  TWO  FRAMES  OF  MINIATURES. 

and        European. 

120  Lent  Anonymously. 

121  TWO  FRAMES  OF  PAINTED  ENAMELS. 

and        European. 

122  Lent  Anonymously. 

69 


GALLERY  IV_A  COLLECTION 

OF  PAINTINGS 
GIVEN  BY  MRS.  LIBERTY  E.  HOLDEN 


MRS.  HOLDEN'S  very  important  collection  of  old  masters 
was  acquired  by  her  husband  from  paintings  gathered  dur- 
ing an  extended  stay  in  Italy  by  James  Jackson  Jarves, 
who  had  hoped  that  the  pictures  might  ultimately  be  housed  in  a 
museurn  and  become  the  nucleus  for  the  study  in  America  of  ItaHan 
art.  With  this  end  in  view,  Mr.  Jarves,  in  i860,  exhibited  his 
pictures  at  the  Derby  Galleries,  625  Broadway,  New  York,  and 
again  in_  1863,  at  the  rooms  of  the  New  York  Historical  Society. 
The  project  of  the  establishment  of  such  a  center  for  ItaHan  art 
could  not  then  be  successfully  carried  out. 

At  the  time  of  this  latter  exhibit  Mr.  Jarves  offered  one 
hundred  and  thirty  of  the  pictures  to  the  Historical  Society  for 
150,000,  but  the  offer  was  not  accepted.  Of  the  examples  now  in 
the  Holden  Collection  only  the  Madonna  and  Child  (No.  44), 
attributed  to  Lionardo,  was  among  the  pictures  offered  to  the 
Society.  Later,  Mr.  Jarves  deposited  most  of  his  pictures  with  the 
trustees  of  Yale  College  as  security  for  a  loan  made  to  him  by  the 
college,  and  as  he  was  unable  to  meet  the  obligation,  he  forfeited 
the  pictures  to  the  college. 

Some  works,  however,  were  not  deposited  at  Yale,  and  these, 
together  with  a  number  which  were  probably  acquired  later,  were 
shown  in  1883  and  1884  in  the  Boston  Foreign  Art  Exhibition. 
It  was  this  group  of  paintings  which  was  bought  in  1884  by  the 
late  Mr.  Holden. 

The  preface  to  the  Handbook  for  Visitors  stated  that  the 
pictures  in  the  collection  were  not  presented  as  masterpieces  but 
as  types  of  the  greater  men  and  their  schools,  fairly  characterizing 
their  motives,  coloring,  design,  and  modeling;  average  represen- 
tative examples  of  their  minor  work,  but  possessing  some  distinc- 
tive recognizable  qualities  to  those  who  had  made  a  study  of  them.^ 
An  additional  point  of  interest  to  connoisseurs  is  supplied  by  the 
fact  that  the  authors  of  many  of  the  paintings  are  uncertain,  thus 
offering  possibilities  of  discussion  and  research. 

1  Handbook  for  Visitors  to  the  Gallery  of  Old  Masters  exhibited  at  the  Boston  Foreign 
Art  Exhibition.    1 8  8  3  - 1 8  8  4. 

71 


THE  CLEVELAND  MUSEUM 

Most  of  the  paintings  in  the  Holden  Collection  are  on  religious 
subjects.  By  following  them  closely  one  can  note  the  historical 
development  in  the  treatment  of  religious  themes.  The  earliest 
of  the  pictures  show  strong  Byzantine  influence,  even  though  the 
spirit  of  interpretation  of  the  themes  is  of  later  epoch.  Especially 
is  this  double  strain  clearly  marked  in  the  Madonna  Suckling  the 
Child  (No.  1 6),  where  the  golden  background,  the  pose  of  the  Virgin 
and  the  drapery  are  Byzantine,  while  the  lower  part  of  the  picture 
just  as  strongly  expresses  the  Renaissance  influence.  Character- 
istics of  the  art  of  these  two  diff^erent  periods  are  again  plainly 
evident  in  the  Madonna  and  Child  (No.  ^6),  where  almost  the 
entire  picture  is  in  the  Byzantine  spirit,  only  the  movement  of 
the  Child  and  the  introduction  of  nature  showing  the  influence  of 
the  Renaissance.  The  collection,  in  fact,  illustrates  the  gradual  but 
ultimately  complete  abandonment  of  the  Byzantine  idea,  even 
though  the  gold  background  is  still  used  by  some  of  the  artists. 
The  beautiful  picture  by  San  Severino,  representing  the  Virgin 
Enthroned  with  the  Child  and  the  Saints  (No.  34),  may  be  con- 
sidered as  an  intermediary  step  in  the  representation  of  the  Virgin 
between  the  earlier  and  the  more  highly  developed  types,  in  which 
her  human  qualities  make  her  a  real  mother,  as,  for  instance,  in 
the  Madonna  by  Lorenzo  di  Credi  (No.  12).  In  the  subject  of  the 
Crucifixion,  the  same  changes  can  be  seen.  The  little  Crucifixion 
(No.  35),  is  an  example  of  the  early  delineation  of  Christ  on  the 
Cross;  while  the  Crucifixion  by  the  school  of  Sodoma  (No.  37), 
in  the  introduction  of  a  greater  number  of  spectators  and  the  group 
which  includes  the  fainting  Virgin,  shows  the  later  spirit. 

Portraiture  in  the  Holden  paintings  is  well  represented  by 
several  masterly  examples,  and  the  collection  as  a  whole  admir- 
ably shows  the  progress  of  painting  from  the  early  Italian  schools 
to  the  end  of  the  Renaissance.  Stella  Rubinstein. 

ITALIAN  SCHOOL. 

ALLORI,  CRISTOFANO.  1577-1621,  Attributed  to.  Flor- 
entine School. 
Son  and  pupil  of  Alessandro  Allori,  who  was  the  nephew 
of  Bronzino  and  an  estimable  portraitist. 
I  Portrait  of  a  Lady  as  Saint  Catherine. 

Against  a  dark  brown  background  is  seated  a  young 
woman,  dressed  in  a  bodice  of  faded  rose  color,  with  a 
touch  of  white  across  her  chest,  and  around  her  wrists  a 

72 


THE  HOLDEN  COLLECTION 

frill  of  soft  material;  a  thin,  transparent  veil  covers  her 
head.  On  the  third  finger  of  her  right  hand  she  wears  a 
jeweled  ring.  The  picture  is  essentially  a  portrait;  only 
the  symbols — the  palm  leaf  which  she  holds  and  the  wheel 
of  torture  against  which  she  rests — suggest  the  martyr, 
St.  Catherine.  The  drawing  is  correct  and  the  technique 
good. 

Wood.  Oil.  37i  inches  high;  28i  inches  wide. 

BALDOVINETTI,  ALESSIO,  1422-1499,  School  of.  Flor- 
entine School. 

1  Madonna  Adoring  the  Child. 

The  Infant  Jesus  reposes  on  a  bed  of  grass  strewn  with 
wild  flowers,  His  head  against  a  cushion.  His  body  resting 
on  a  fold  of  the  Virgin's  cloak.  Timidly  He  turns  His  eyes 
and  holds  out  His  arms  to  His  mother,  who  kneels  at  His 
feet.  Her  face  looking  down  upon  Him  has  a  sweet,  inno- 
cent expression;  her  hands  are  folded  and  her  whole  atti- 
tude reflects  the  charm  of  the  hymns  composed  in  her 
honor.  In  a  rugged  landscape  behind  the  Virgin,  with 
rocky  boulders  and  pine  trees,  diversified  by  a  wide- 
spreading,  cultivated  valley,  are  Tobias  and  the  Arch- 
angel. 

This  group  is  very  like  one  in  the  picture  by  Francesco 
Botticini,  Tobias  and  the  three  Archangels,  in  the  Acad- 
emy of  Fine  Arts  in  Florence;  the  pose  of  the  Infant  is 
almost  identical  with  the  child  in  Botticini's  picture.  The 
Adoration  of  the  Infant  Jesus,  in  Modena.^  The  expres- 
sion of  the  Virgin  reminds  one  of  the  Virgin  with  the  Vio- 
let, by  Lochner,  in  the  Seminary  of  Cologne,  which  is 
superior  in  execution,  but  has  the  same  charming  and 
childish  expression.  The  picture  has  been  ascribed  by 
Mr.  Jarves  to  Piero  della  Francesca;  Bernhard  Berenson 
says  that  it  looks  like  the  work  of  Sellaio,  but  that  the 
landscape  is  in  the  hand  of  Alessio  Baldovinetti;  Dr.  Os- 
vald  Siren  gives  it  to  Botticini,  saying,  however,  that  the 
landscape  is  directly  from  Baldovinetti;  and  August  F. 
Jaccaci   thinks   it  to  be  of  the  School  of  Baldovinetti.^ 

^Reproduced  in  the  work  on  Botticini  by  Ernst  Kiihnel.  Taf.  VII. 
^Bulletin  of  The  Metropolitan  Museum  of  Art.  October,  191 2. 

73 


THE  CLEVELAND  MUSEUM 

Thus  the  weight  of  opinion  inclines  to  the  School  of 
Baldovinetti  on  account  of  the  striking  similarity  of  the 
Virgin  and  landscape  to  Baldovinetti's  Virgin  and  land- 
scapes.^ 

Wood.  Tempera.  ^2y  inches  high;  24!  inches  wide. 

BASSANO,   LEANDRO;  real  name  DA  PONTE,    1558- 
1623.  Venetian  School.  Pupil  and  assistant  of  his  father, 
Jacopo  Bassano. 
3  The  Entombment. 

The  dead  Christ  is  supported  by  two  angels  who  are  wrap- 
ping Him  in  a  white  shroud,  one  holding  the  end  of  it  at 
His  feet,  the  other  supporting  His  head  with  one  hand  and 
His  body  with  the  other.  Blood  drips  from  His  side  and 
hands  and  from  His  head,  from  which  the  crown  of  thorns 
has  fallen  down  and  round  which  rays  of  light  form  a 
halo.  The  head  has  the  expression  of  intense  suffering 
often  seen  in  the  representations  of  the  Sixteenth  century, 
and  even  more  dramatically  expressed  in  the  pictures  of 
Guido  Reni;  the  body  has  a  blackish  and  greenish  tint 
suggestive  of  Tintoretto.  Its  treatment  shows  an  under- 
standing of  anatomy.^ 

The  angel  in  the  foreground  wears  a  sleeveless  yellow 
tunic,  with  the  white  sleeves  of  an  undergarment  rolled 
above  the  elbow;  the  other  angel  wears  a  red  blouse, 
opened  at  the  throat,  a  white  garment  beneath. 
The  background  shows  a  landscape  with  horsemen  riding 
in  the  distance,  three  crosses  silhouetted  against  a  blue 
sky,  and  a  tree  in  the  foreground. 

This  painting  was  formerly  ascribed  to  Titian;  then  to 
Tintoretto,  and  recently  by  Mrs.  Berenson,  to  Leandro 
Bassano.^  There  is  a  great  resemblance  between  it  and 
the  Pieta  by  Leandro  in  the  Munich  Pinakothek;*  in 
both  pictures  the  bodies  of  the  Christ  are  almost  identical, 
in  pose  as  well  as  in  modeling.  The  costumes  of  the  angels 

1  See  his  Annunciation,  and  the  Virgin  Enthroned  with  Saints,  in  the  Uffizi,   Florence. 

2  The  entombment  is  not  represented  in  art  before  the  first  half  of  the  Fourteenth  cen- 
tury; the  use  of  them  came,  probably,  from  the  early  mystery  plays. 

^Rassegna  d'Arte,  1907.  Whenever  in  this  catalogue  mention  is  made  of  Mrs.  Berenson's 
opinion,  the  reference  will  be  found  in  Rassegna  d'Arte,  1907. 

*See  reproductions  in  Zottman:  Kunst  der  Bassani,  tab.  22,  23,  24. 

74 


THE  HOLDEN  COLLECTION 

are  similarly  treated  in  other  pictures  by  Leandro  in  the 
Imperial  Museum  of  Vienna. 

Canvas.  Oil.  48!  inches  high;  30  inches  wide. 

BICCI,  NERI  DI,  1419-1491.  Florentine  School. 
Pupil  and  close  follower  of  his  father,  Bicci  di  Lorenzo. 

Virgin,  Child  and  Angels. 

Against  a  gray-green  background,  strewn  with  stars,  sits 
the  Virgin,  of  simple  and  sympathetic  mien,  adoring  the 
Infant  Jesus  who  lies  on  her  lap.  Her  robe  is  red,  trimmed 
with  a  golden  border;  her  mantle,  of  blue,  with  yellow 
lining. 

The  Child  is  not  idealized,  but  looks  like  a  peasant  child, 
with  a  rather  old  expression.  On  each  side  an  angel  sup- 
ports it;  the  one  to  the  right,  candid  and  simple,  the  other 
refined,  dressed  with  elegance  in  a  brown  dress  puffed 
in  the  fashion  of  the  time,  with  his  hair  charmingly  curled. 
He  resembles  Fra  Angelico's  angels,  but  lacks  their  sim- 
plicity. Above,  on  each  side  of  the  Virgin's  head,  are  little 
cherubs,  framed  in  wings,  characteristic  of  the  Italian 
Renaissance,  and  especially  of  the  art  of  the  Delia  Robbia. 
The  picture  as  a  whole  is  interesting  and  a  good  example 
of  the  art  of  Neri  di  Bicci,  who,  without  great  talent,  did 
his  work  well.  His  themes  in  religious  paintings  were  lim- 
ited to  four;  The  Annunciation,  The  Assumption  and  the 
Coronation  of  the  Virgin,  The  Virgin  with  the  Christ,  and 
the  Crucifixion.^  Comparing  this  picture  with  a  similar 
one  in  the  Museum  of  Fine  Arts  in  Budapest,  one  finds  a 
strong  resemblance  in  the  heads  and  in  the  expression  of 
the  faces;  the  more  refined  angel  of  this  picture  resembles 
the  angel  in  an  Annunciation  in  the  Academy  of  Florence; 
the  other  angel  and  the  Virgin  closely  resemble  similar 
figures  in  a  picture  in  the  Chiesa  di  S.  Felicita  in  Florence. 
Wood.  Tempera.  25!  inches  high;  183^  inches  wide. 

"PSEUDO  BOCCACCINO."  Active  about  1500.  Milanese 

School. 
Adoration  of  the  Shepherds. 

The  background  shows  a  landscape  of  rolling  hills  against 
a  sky  of  soft  green-blue  and,  in  the  foreground  to  the  left, 

^Kuhnel,  Ernst:  Francesco  Botticini,  p.  25. 

75 


THE  CLEVELAND  MUSEUM 

a  house  with  a  doorway.  The  Virgin,  in  a  red  robe,  kneels 
in  tender  adoration  before  the  Child,  who  lies  upon  an 
end  of  her  black  mantle  and  holds  out  His  arms  to  her. 
Saint  Joseph,  wearing  a  yellow  robe  and  a  red  mantle,  car- 
ries a  long  stick  in  his  right  hand  and  holds  a  cap  in  his 
left;  at  the  right  are  two  shepherds  in  adoration,  one  of 
very  plebian  type,  in  a  yellow  tunic,  the  other  refined, 
in  a  gray  tunic  and  ragged  blue  trousers. 
Wood.  34A  high;  13!  inches  wide. 

BOTTICINI,    FRANCESCO,     i446[?]-i497.     Florentine 

School. 
Pupil,  first  of  Neri  di  Bicci,  then  of  Botticelli  and  Ver- 
rocchio,  by  both  of  whom  he  was  greatly  influenced. 

6  Virgin  and  Child. 

In  an  airy,  pleasant  landscape  the  Virgin  is  seated  holding 
the  Infant  Jesus  on  a  pillow  on  her  knee.  In  His  right  hand 
He  clasps  a  bird,  while  He  sucks  two  fingers  of  His  left 
hand.  Unlike  the  infants  in  paintings  of  the  earlier  periods. 
He  has  the  appearance  of  a  real  child.  The  Virgin  wears 
a  loose  green  mantle,  with  yellow  lining,  over  a  pink  robe, 
and  on  her  head  a  draped,  transparent,  buff-gray  veil. 
Her  expression  is  tender,  and  her  oval,  slightly  elongated 
face  is  reminiscent  of  both  Botticelli  and  Verrocchio. 
This  exquisite  picture  has  been  ascribed  to  Ghirlandaio; 
by  Baron  Liphard  to  Verrocchio,  and  by  Mrs.  Berenson 
to  Botticini.^  There  is  a  marked  analogy  between  it  and 
the  Virgins  of  the  Uflizi,  the  pictures  by  Verrocchio  in 
the  National  Gallery,  and  a  painting  by  Botticini  in  the 
collection  of  Mrs.  Gardner  in  Boston. 

Wood.  Tempera.  26!  inches  high;  i8t\  inches  wide. 

BRAMANTINO,    BARTOLOMEO    SUARDI,    1450-55 
— 1530.  Milanese  School. 

7  Adoration  of  the  Shepherds. 

The  scene  is  in  an  old  stone  enclosure,  beyond  which,  to 
the  left,  is  disclosed  a  landscape  with  hills  and  houses,  and 
a  soft,  clear  blue  sky.  On  a  fold  of  the  Virgin's  mantle  lies 
the  Infant  Jesus.  The  Virgin,  her  blond  hair  hanging  loose, 
wears  a  very  dark  red  robe  and  a  blue  mantle  edged  with 

^See  Bulletin  of  the  Metropolitan  Museum  of  Art,  October,  19 12. 

76 


THE  HOLDEN  COLLECTION 

gold.  Behind  her,  Saint  Joseph,  in  a  dark  brown  robe  and  a 
golden  brown  mantle,  is  seated  in  the  traditional  fashion. 
Near  the  Virgin,  in  an  attitude  of  adoration,  stands  an 
angel  dressed  in  transparent  white,  and  next  to  him  kneel 
two  shepherds.  The  golden  brown  robe  wrapped  round 
the  one  in  the  foreground  but  half  conceals  his  bare  shoul- 
ders and  arms.  Behind  these  shepherds  is  a  third,  almost 
nude,  while  to  the  extreme  left  stands  a  cow.  In  the  upper 
right-hand  corner  of  the  wall  is  the  angel,  who  has  appar- 
ently just  announced  the  miracle  to  the  shepherds.^ 
The  conception  of  the  kneeling  shepherd  in  the  foreground 
and  of  the  one  standing,  is  not  in  the  spirit  of  the  rest  of 
the  composition.  This  picture  has  some  analogy  with  the 
Adoration,  by  Bramantino,  in  the  Ambrosiana  in  Milan.^ 
Wood.  i6tt  inches  high;  iij^  inches  wide. 

CIGOLI,  LUDOVICO  CARDI,  1559-1613,  Attributed  to. 
Florentine  School. 
Pupil  of  Alessandro  AUori  and  Sante  di  Tito,  developed 
under  Baroccio. 
8  Portrait  of  a  Member  of  the  Medici  [?]   Family  Re- 
presented AS  Saint  Peter  the  Martyr. 

Against  a  light  brown  background  is  shown  the  portrait 
of  a  youth,  from  whose  wounded,  tonsured  head  blood  is 
flowing.  His  tunic  is  of  light  chestnut  brown  with  black 
passementerie,  and  around  his  neck  a  soft  white  material 
is  arranged  in  folds. 

It  is  a  pleasing  and  well-preserved  picture,  the  colors 
delicate  and  harmonious.  The  drawing  of  the  head  is  cor- 
rect, the  ears  finely  formed.  It  is  distinctly  a  portrait,  only 
the  wound  in  the  head  suggesting  Peter  the  Martyr,  and  it 
is  very  likely  that  of  Giovanni  de'  Medici,  second  son  of 
Cosimo,  since  it  resembles  one  of  him  painted  by  Bron- 
zino.^ 

Canvas.  17  inches  high;  I2i  inches  wide. 

^  The  representation  of  shepherds  in  adoration  was  not  known  in  the   Thirteenth  and 
Fourteenth  centuries,  when  the  mere  announcement  by  the  angels  to  the  shepherds  constituted 
the  theme.   In  the  Fifteenth  century,   kneeling  shepherds  were   introduced.    (Male.  Emile 
U  Art  religieux  de  la  fin  du  moyen  age. ) 

2  Reproduced  in  U Arte,  1914,  p.  25. 

^Reproduced  in  Heyck,  Edward:  The  Mediceer. 

11 


THE  CLEVELAND  MUSEUM 

CIMA  DA   CONEGLIANO,   GIOVANNI   BATTISTA. 

About  1460-15 17.  Venetian  School. 

Pupil  and  follower  of  Alvise  Vivarini,  influenced  slightly 
by  Bartolomeo  Montagna,  and  greatly  influenced  by 
Giovanni  Bellini. 

9  Virgin  and  Child. — Copy. 

The  Virgin,  standing,  supports  the  nude  Infant  Jesus, 
who.  His  arms  crossed  on  His  breast,  stands  in  front  of 
her  on  a  parapet.  His  hair  is  very  curly.  The  Virgin  wears 
a  brick-red  robe  trimmed  with  gold  bands,  and  a  blue 
mantle.  A  yellow  scarf,  under  which  is  a  white  one,  falls 
from  her  head  across  her  left  shoulder  and  drapes  her 
waist.  A  landscape  of  blue  sky,  rocks,  trees,  houses,  and  a 
winding  stream  forms  the  background. 
The  picture  is  an  exact  copy  of  one  by  Cima  da  Conegli- 
ano  m  the  Pinacotheca  in  Bologna,  with  the  difference 
that  in  the  original  a  tympanum  above  the  picture  con- 
tains God  the  Father  and  two  cherub  heads  among  clouds. 
The  technique  of  th'is  copy  does  not  seem  earlier  than  the 
Eighteenth  century.  It  is  signed  exactly  like  the  original. 
Wood.  23 j^  inches  high;  20  inches  wide. 

COSIMO,  PIERO  DI,  1462-1521,  School  of.  Florentine 
School. 

10  Virgin  With  Child  and  Angels. 

The  Virgin,  seated,  clasps  in  her  arms  the  Infant  Jesus, 
who,  His  arms  round  her  neck.  His  cheek  against  hers, 
stands  on  a  cushion  in  her  lap.  The  Madonna's  robe  is  red 
and  harmonizes  well  with  the  dark  green  mantle  which 
just  touches  her  shoulders,  but  envelops  the  lower  part  of 
her  body;  a  transparent  veil  covers  her  head  and,  falling 
to  her  shoulders,  is  held  by  a  striped  scarf  which  encircles 
her  bodice;  her  sleeves  are  slit,  showing  a  fullness  of  lace. 
A  red,  figured  curtain  fills  the  background.  On  either  side 
of  the  Virgin  is  an  angel  in  adoration.  The  style  of  their 
dress  is  similar;  the  lower  part  of  their  sleeves  is  slashed 
and  filled  in  with  soft  white  lace,  and  each  wears  a  large 
jeweled  breastpin  and  a  striped  girdle.  The  dress  of  the 
angel  on  the  right  is  brown  brocade  with  the  lower  sleeves 

78 


THE  HOLDEN  COLLECTION 

of  dark  rose;  the  dress  of  the  angel  on  the  left  is  dark 
green. 

Canvas.  Oil.  Round,  34!  inches  high;  ^;^i  inches  wide. 

COSIMO,  PIERO  DI,  1462-1521,  School  of. 

11  Virgin  and  Child  With  Saint  John  and  Angels. 

The  Virgin  supports  the  Infant  Jesus,  who  stands  upon  a 
table  beside  which  she  is  standing.  Her  dark  red  dress  is 
covered  by  a  green  mantle,  and  her  head  and  shoulders  are 
encircled  by  a  blue  scarf  which  the  Infant  holds  with  one 
hand  while  He  caresses  His  mother's  hand  with  the  other. 
On  either  side  is  an  angel  in  adoration;  the  one  at  the  right 
wearing  a  light  brown  dress  with  blue  upper  sleeves;  the 
one  at  the  left  in  a  green  robe  with  sleeves  of  light  brown 
and  a  mantle  which  falls  from  the  left  shoulder.  Below  the 
Christ  Child  stands  Saint  John  in  adoration,  against  his 
shoulder  a  cross,  the  symbol  of  Christ's  death.  In  the 
background  is  a  landscape  well  interpreted  and  with  good 
perspective. 

The  picture  portrays  a  charming  and  touching  scene  that 
does  not  appear  in  painting  before  the  Fifteenth  century 
and  that  was  delightfully  interpreted  by  Raphael  in  his 
pictures  at  the  Louvre,  La  Belle  Jardiniere,  The  Holy 
Family  of  Francis  I,  and  La  Vierge  au  Diademe  Bleu. 
Canvas.  Oil.  Round,  37I  inches  high;  362  inches  wide. 

CREDI,  LORENZO  DI,  1459-1539.  Florentine  School. 

12  Virgin  and  Child. 

The  Virgin,  seated  against  a  square  column  from  which  is 
suspended  a  draped  curtain,  and  on  either  side  of  which 
can  be  seen  a  distant  landscape  of  fine  chiaroscuro,  holds 
the  Infant  Jesus  on  a  cushion  on  her  knee.  She  wears  a 
low-cut,  brick-red  dress  with  a  blue-gray  belt,  and  a  dark 
blue-green  mantle  lined  with  pale  green,  which  falls  from 
her  arms  and  covers  her  lap  and  knees.  Her  shoulders  are 
enveloped  by  a  scarf  thrown  over  her  head  and  coquet- 
tishly  caught  at  the  back.  The  Infant  stretches  out  His 
arms  to  take  His  mother's  breast,  which  the  Virgin  is  pre- 
paring to  give  Him,  while  she  observes  Him  with  gravity, 
having  a  premonition,  perhaps,  of  the  fate  that  awaits 
Him.  The  Child  is  completely  nude  and  very  plump.  This 
is  a  characteristic  of  all  of  Credi's  children. 

79 


THE  CLEVELAND  MUSEUM 

It  is  a  charming,  intimate  scene,  far  removed  from  the 
Middle  Ages  and  the  representations  of  that  time.  The 
figures  have  points  of  resemblance  to  the  Virgin  and  In- 
fant Jesus,  Saint  John  the  Baptist  in  Adoration,  and  The 
Angels  of  the  Uffizi  in  Florence.^ 

Wood.  31  inches  high;  2i|i  inches  wide. 

FILIPPO    DA    VERONA,    Sixteenth    Century.    Italian 

School. 
Pupil  of  Titian;  a  painter  in  the  manner  of  Giovanni  Bel- 
lini. 

13  Virgin,  Child,  and  Saints. 

A  dark  green  curtain  forms  the  right  background,  a  land- 
scape with  houses  and  trees,  the  left.  The  Virgin,  wearing 
a  blue-green  mantle,  a  red  robe  with  a  gold  band  round 
the  neck,  and  a  scarf  on  her  head,  holds  the  Infant  Jesus. 
Though  a  child  in  modeling.  He  is  of  grave  expression. 
Saint  Anne,  in  dark  brown,  with  a  blue  mantle  lined  with 
orange,  and  a  yellow  scarf  on  her  hair,  caresses  the  head  of 
the  Infant,  while  below,  John  the  Baptist,  who  looks  out 
at  the  spectator,  bears  the  cross,  the  symbol  of  the  Pas- 
sion. Behind  the  Virgin  is  a  female  saint;  at  her  right  a 
male  saint,  and  in  the  lower  left-hand  corner,  in  a  close- 
fitting  green  garment.  Saint  Joseph  sits  in  the  traditional 
fashion.  Joseph,  who  is  bald  and  has  a  short  beard,  wears 
an  orange  mantle.  The  saint  on  his  left  has  long  hair,  beard 
and  moustache. 

The  Virgin  is  not  alluring  like  the  Virgins  of  the  Middle 
Ages;  she  looks  like  a  rich,  well-dressed  bourgeoise.  The 
Saint  Anne,  with  her  grave  and  mild  expression,  is  remin- 
iscent of  Bellini,  both  in  the  interpretation  of  her  face  and 
figure,  and  in  the  manner  in  which  the  scarf  is  draped  on 
her  head  and  shoulders. 

Saint  Joseph,  old  and  gray,  is  painted  more  in  the  spirit 
of  the  earlier  traditions,  and  represents  well  his  type  as 
portrayed  at  the  end  of  the  Fourteenth  century  and  during 
the  early  Fifteenth  century. 
Wood.  3of  inches  high;  46!  inches  wide. 

^Ferrigni,  Mario:  Madonne  Florentine. 

80 


THE  HOLDEN  COLLECTION 

FIORENTINO,  PIER  FRANCESCO.  Florentine  School. 
Active  in  the  last  three  decades  of  the  Fifteenth  century. 
Pupil  possibly  of  Fra  Angelico  or  Benozzo  Gozzoli;  in- 
fluenced by  Neri  di  Bicci — Great  imitator  of  Fra  Filippo 
Lippi  and  others. 

14  Madonna  Adoring  The  Child,  Attended  By  Angels. 
The  Virgin,  who  is  kneeling  on  a  bed  of  flowers  in  the 
midst  of  which  is  an  open  prayer  book,  adores  the  Infant 
Jesus.^  He,  supported  by  two  angels,  behind  whom  a  third 
is  seen  in  an  attitude  of  adoration,  holds  out  His  arms  to 
His  mother,  while  the  Holy  Ghost,  in  the  form  of  a  dove, 
sends  rays  of  light  upon  Him. 

The  background  shows  a  landscape  in  the  manner  of  Fra 
Filippo  Lippi.  In  the  far  distance  there  are  houses  covered 
with  red  brick  roofs. 

The  Virgin  wears  a  full  blue  mantle  with  a  gold  border,  in 
the  fashion  of  the  period.  A  veil  covers  her  head,  back  of 
which  is  a  nimbus.  She  lacks  the  charm  and  youth  of  the 
Virgin  of  Fra  Angelico  or  Perugino,  but  impresses  the  spec- 
tator by  the  seriousness  of  her  expression.  The  angels, 
dressed  like  pages  of  the  Fifteenth  century,  with  crowns  of 
flowers  on  their  heads,  are  very  plebian  types,  but  have  a 
simple  and  naive  air. 

They  are  far  removed  from  the  beautiful  angels  of  Fra 
Angelico  or  of  the  Gothic  cathedrals. 
In  spite  of  many  defects  in  the  drawing,  obviously  Pier 
Francesco  Fiorentino  was  inspired  in  this  picture  by  Fra 
Filippo  Lippi.  The  type  of  the  Virgin  is  the  same  as  that  in 
his  Annunciation  in  the  Church  of  San  Lorenzo  in  Flor- 
ence, but  she  appears  older;  and  the  angels,  notwith- 
standing their  incorrect  drawing,  are  done  in  his  spirit. 
The  landscape,  too,  is  very  much  inspired  by  his  Nativity, 
also  in  the  Academy  of  Fine  Arts,  Florence.  See  his  An- 
nunciation and  the  Coronation  of  the  Virgin  in  the  Acad- 
emy of  Fine  Arts,  Florence.  There  is  a  picture  quite  similar 
to  this  by  Pier  Francesco  Fiorentino  in  the  Stadel  Art  In- 
stitute in  Frankfort-am-Main.  The  difference  consists  in  a 

^  This  kneeling  attitude  of  the  Virgin  before  the  Christ  Child  does  not  appear  before  the 
end  of  the  Fourteenth  century,  its  introduction  very  likely  having  come  through  the  mystery 
plays,  influenced  by  San  Bonaventura's  Meditation  on  the  Life  of  Jesus. 

81 


THE  CLEVELAND  MUSEUM 

different  treatment  of  background  and  in  some  slight 
changes  in  the  garments  and  in  the  expression  of  the  faces. 
Wood.  3of  inches  high;  2i|  inches  wide. 

FLEMISH  SCHOOL.  Fifteenth  century. 

15  Portrait  of  A  Florentine  Doctor. 

A  middle-aged  man  is  seated  against  a  curtain  suspended 
from  a  white  wooden  shelf  on  which  are  a  drug-pot  (alba- 
rello)  and  other  objects.  He  wears  a  loose,  dark-green 
mantle  with  wide,  flowing  sleeves,  an  undergarment,  the 
collar  of  which  is  edged  with  a  band  of  fur,  and  a  red  head- 
dress, which  falls  in  a  broad  fold  over  his  ears  down  to  his 
hands. 

This  is  an  admirable  example  of  the  realistic  portraits  of  the 
Fifteenth  century,  in  which  the  painters  endeavor  to  por- 
tray the  personality  of  the  individual.  The  firm  set  of  the 
mouth  indicates  a  feeling  of  self-importance;  and  the 
thoughtful  eyes  and  the  deep  ridges  between  them,  habit- 
ual mental  effort.  The  hands  are  admirably  treated  in  the 
characteristic  Flemish  manner,  as  are  also  the  ridges 
around  the  eyes,  the  corners  of  the  mouth,  and  all  the 
accessories.  The  picture  was  formerly  ascribed  to  Domen- 
ico  Ghirlandaio,  but  Mrs.  Berenson  attributes  it  to  Justus 
of  Ghent,  assigning  it  to  the  series  of  portraits  from  Duke 
Federigo  Montefeltro's  library  in  Urbino,  of  which  thir- 
teen examples  are  in  the  Louvre  and  several  in  the  Barber- 
ini  palace  in  Rome.^  It  is  doubtful  whether  Mrs.  Beren- 
son's  attribution  can  be  accepted,  since  a  comparison  of 
this  portrait  with  pictures  attributed  to  Justus  of  Ghent,'^ 
shows  no  resemblance  to  them;  while  it  is  likely  that  it 
was  painted  by  one  of  the  many  Flemish  artists  who  inun- 
dated Italy  in  the  Fifteenth  century,  bringing  with  them 
their  own  style  of  portraiture,  a  theory  which  the  Italian 
costume  supports. 

Wood.  Oil.  23I  inches  high.  17!  inches  wide. 

ITALIAN  SCHOOL.  Late  Fourteenth  century. 

16  Madonna   Suckling   The  Child,  and  The  Temptation 
OF  Eve. 

The  picture  is  divided  into  two  parts.  In  the  upper  part, 

1  Rassegna  d' Arte,  1907,  p.  2. 

2  See  Schmarzow,  August:  Toos  van  Ghent  and  Melozzo  da  For  It. 

81 


THE  HOLDEN  COLLECTION 

on  a  golden  background,  the  Madonna,  in  a  red  robe  cov- 
ered by  a  dark,  loose  mantle,  dashed  with  gold,  is  en- 
throned with  the  Child.  Angels  are  in  adoration.  The 
nimbus  of  the  Virgin  is  surrounded  by  twelve  stars  in  re- 
lief, in  each  a  miniature  apostle's  head;  and  in  the  upper 
left  corner  appears  the  sun.  The  Infant,  swaddled  in  yellow 
cloth,  which  exposes  His  square  shoulders  and  His  toes, 
has  a  round  head  and  wide-open  eyes.  He  holds  His 
mother's  breast  ready  to  nurse.^ 

To  the  left  of  the  Virgin,  in  adoration,  is  an  angel,  in  a 
flowing  cream-colored  robe,  strewn  with  flowers;  to  the 
right.  Saint  George,  in  a  brown  robe  tied  around  the  waist, 
and  bearing  a  shield  and  sword.  Above  him  is  Saint 
Michael,  who  wears  a  red  robe,  and  a  scarf  that  falls  from 
his  shoulder  and  is  draped  round  his  waist.  In  his  left 
hand  he  holds  a  scale  symbolizing  the  weighing  of  the 
souls  at  the  Last  Judgment;  in  his  right  hand,  a  sword. 
Nimbi  are  behind  the  heads  of  the  saints  and  angel.  In  the 
lower  right  corner  is  a  red  shield  on  which  appears  a  coat- 
of-arms,  a  wing  below  a  star  in  what  was  once  a  silver  leaf.^ 
Separated  from  the  upper  part  of  the  picture  by  a  painted 
band,  in  figured  relief,  is  the  gradino.  On  a  bed  of  flowers 
reclines  Eve,  with  her  wavy  blond  hair  falling  about  her. 
A  serpent  with  a  human  head  is  tempting  her  with  the  for- 
bidden apple,  which  she  is  about  to  taste. 
The  upper  part  of  the  work  is  largely  in  the  Byzantine 
manner  with  the  exception  of  the  head  of  the  Mother  and 
the  expression  of  the  Child,  while  in  the  lower  part  the  in- 
spiration seems  quite  diff^erent.  Eve's  pose,  as  well  as  the 
modeling,  suggesting  the  Renaissance. 
Mr.  Jarves  believed  the  work  to  be  that  of  Giotto.  Mrs. 
Berenson^  says  the  picture  is  of  the  early  Sienese  School 
with  traces  of  the  influence  of  Bartolo  di  Fredi.  In  the 

1  The  representation  of  the  Madonna  nursmg  the  Christ  Child  was  known  in  the  Cat- 
acombs of  Priscille,  in  the  Second  century,  but  was  gradually  superseded  by  the  Madonna 
triumphant.  This  theme  again  was  supplanted  by  the  more  human  representations  in  the  French 
cathedrals  in  the  Thirteenth  century.  The  inspiration  of  the  human  Madonna  may  have  come 
through  the  French  ivories.  See  Michel,  Andre:  Histoire  de  Part,  T  2,  p. 874. 

2  The  coat-of-arms  has  been  ascribed  to  the  Alighieri  family,  but  Mr.  Bryson  Burroughs 
thinks  that  it  may  have  belonged  to  a  collateral  branch  of  the  house  of  Bevilacqua  of  Verona. 
See  Bulletin  of  The  Metropolitan  Museum  of  Art,  Oct.   191 2. 

^  Rassegna  d'' Arte. 

83 


THE  CLEVELAND  MUSEUM 

Saracina  Collection  at  Siena  is  a  figure  of  Eve  by  Paolo  di 
Giovanni  Fei,  similar  to  this  one.  In  Dr.  Siren's  opinion, 
the  painting  is  by  Francescuccio  Ghissi,^  while  Mr. 
F.  J.  Mather  believes  it  to  be  virtually  a  replica  by  Andrea 
da  Bologna,  of  his  picture  in  the  Church  of  Sant'  Agostino 
at  Pausula.^  Bologna's  Virgin  is,  in  fact,  similar  to  this 
one.  The  Child  has  almost  the  same  pose  and  is  treated  in 
the  same  manner,  but  the  Virgin's  head  in  this  collection 
is  much  more  attractive.  There  is  no  Eve  in  Bologna's 
picture. 

Wood.  Tempera.  75t%  inches  high;  38!  inches  wide. 

FLORENTINE  SCHOOL.  Fifteenth  century. 
17  Horse  Race  in  the  Streets  of  Florence.  A  Cassone 
Front. 

In  this  interesting  picture  the  usual  religious  theme  has 
given  place  to  a  subject  taken  from  civil  life.^  The  great 
charm  and  variety  in  movement  show  the  vivid  imagina- 
tion of  the  artist. 

The  background  discloses  houses  with  arched  windows, 
decorated  with  banners  and  rugs,  flower-pots,  and  a 
branch  of  tree  stuck  in  the  wall  in  honor  of  the  occasion 
upon  which  the  race  was  given.  People  are  standing  in  ex- 
cited groups  in  front  of  the  houses  and  leaning  from  the 
windows,  their  gestures  reveahng  their  intense  interest.  At 
the  extreme  left  is  a  platform  on  which  appear  two  heralds 
blowing  trumpets;  while  two  other  persons  are  raising  a 
large  gold  banner  with  a  border  offleur-de-lys.  The  horses 
and  their  riders  show  splendid  animation  and  movement. 
One  horse  has  fallen  and  two  are  riderless.  The  costumes 
are  characteristic  and  enhance  the  interest  of  the  picture, 
which  is,  in  all  its  details,  representative  of  the  fashion  of 
the  time.  Scarlet  is  freely  used,  perhaps  to  emphasize  the 
spirit  of  gaiety. 

Wood.  1 61  inches  high;  54^  inches  wide. 

1  Bulletin  of  The  Metropolitan  Museum  of  Arts  1912. 

2  Reproduced  in  Venturi:  Storia  dell  Arte  Italiana,  Vol.V,  p.  944. 

^  Subjects  of  civil  life  were  first  represented  in  the  Books  of  Hours.  One  of  the  most  cu- 
rious representations  of  this  kind  may  be  seen  in  the  Tr^s  Riches  Heures  du  Due  de  Berry , 
illuminated  in  the  Fourteenth  century,  in  Chantilly,  in  which  a  calendar  represents  the  oc- 
cupations or  pleasures  of  every  month. 

84 


THE  HOLDEN  COLLECTION 

FLORENTINE  SCHOOL.  Middle  of  the  Fifteenth   cen- 
tury. 

1 8  Saint  Francis  Receiving  the  Stigmata. 

Saint  Francis,  kneeling,  receives  the  stigmata  emanating 
from  Jesus,  who  appears  nailed  to  a  cross  floating  in  the 
sky.  The  body  of  Jesus,  emitting  rays  of  light,  is  enfolded 
in  red  wings.  To  the  left  of  Saint  Francis  is  his  disciple, 
Leo,  on  whose  knees  rests  an  open  prayer  book,  the  read- 
ing of  which  has  been  suddenly  interrupted  by  the  celestial 
light  which  comes  from  above.  The  movement  of  his  hands 
and  his  countenance,  which  expresses  mingled  astonish- 
ment and  adoration,  is  directed  toward  the  apparition  of 
Christ.  Saint  Francis  and  his  companion  are  clothed  in  the 
gray  garb  of  the  order.  The  landscape  is  composed  of  huge 
gray  rocks,  in  the  foreground  of  which  are  two  small 
houses  with  a  row  of  bright  green  trees  behind  them. 
This  subject,  a  favorite  with  many  artists  in  the  Four- 
teenth and  Fifteenth  centuries,  is  painted  very  much  in 
the  spirit  of  Giotto. 
Wood.  Tempera.  8i  inches  high;  I2f  inches  wide. 

ITALIAN  SCHOOL.  Late  Fifteenth  century. 

19  Pope  Sixtus  IV. 

Against  a  landscape  background  the  Pope  is  seated,  hold- 
ing his  right  hand,  on  which  there  are  four  rings,  in  an  atti- 
tude of  benediction.  Over  a  white  surplice,  clasped  by  a 
studded  morse,  he  wears  a  richly  embroidered  brown  cope 
with  elaborately  jeweled  borders.  His  white  tiara  is  en- 
circled by  three  jeweled  crowns. 

Mrs.  Berenson  thinks  that  hke  the  Florentine  Doctor  (No. 
15),  this  portrait  is  by  Justus  of  Ghent.  It  is  not,  however, 
possible  that  the  two  portraits,  which  are  so  different  in 
execution,  were  done  by  the  same  artist.  The  work  was 
undoubtedly  influenced  by  Flemish  art,  as  is  apparent  in 
the  fine  details  of  jeweled  setting  and  rich  embroidery,  and 
the  costume  is  very  like  those  attributed  to  Justus  of 
Ghent,  especially  in  the  portraits  of  Saint  Gregorius  and 
Saint  Ambrosius  of  the  Barberini  palace,  and  the  Saint 
Augustine  in  the  Louvre,^  but  the  modeling  of  the  head 
and  hands,  however,  is  done  in  a  quite  different  style. 

1  Pictures  reproduced  m  Schmarzow:  Joos  "^an  Gent,  and  Melozzo  da  Forli,  Taf.  6,8,9. 

85 


THE  CLEVELAND  MUSEUM 

The  probability  is  that  an  Italian  painter  influenced  by 
Justus  of  Ghent  did  the  work.^  The  manner  is  suggestive 
of  Melozzo  da  Forli^  but  the  technique  is  of  a  later  period, 
and  may  have  been  by  a  follower  of  his  school. 
Canvas.  Oil.  27!  inches  high;  2oi  inches  wide. 

FLORENTINE  SCHOOL. 

20  Annunciation. 

The  pillars  of  a  cloister  are  in  the  background.  On  the 
floor  is  a  red  carpet.  An  angel,  garbed  in  a  red  tunic  and  a 
green  mantle,  kneels  before  the  Virgin,  who  is  seated  in  an 
armchair  with  an  open  prayer  book  in  her  lap,  and  who 
looks  up  at  the  angel  with  surprised,  soulful  eyes.  Her 
dress  falls  in  simple  folds  and  her  dark  cream  mantle  is 
lined  with  ermine.  The  Holy  Spirit  in  the  form  of  a  dove, 
sends  rays  of  light,  on  which  are  inscribed  the  words, 
ECCE  ANCILLA  DNI,  in  the  direction  of  the  Virgin. 
The  picture  which  is  certainly  a  copy,  has  the  spirit  and 
the  simplicity  of  the  earliest  representations  of  the  An- 
nunciation, but  the  technique  seems  to  be  of  the  Sixteenth 
century. 

Canvas.  Oil.  36tV  inches  high;  48I  inches  wide. 

ITALIAN  SCHOOL.  Sixteenth  century. 

21  Virgin  and  Child  Seated  in  a  Niche. 

The  Virgin  is  seated  in  a  niche,  while  on  her  knee  the 
Infant  Jesus  holds  her  hand  with  His  left  hand,  and  gives 
the  benediction  with  His  right.  Around  His  body  is  a  scarf. 
The  Infant,  although  a  real  child  in  the  structure  of  His 
body,  expresses  in  His  looks  the  gravity  of  His  future 
destiny.  The  Virgin,  who  has  a  gray  fichu  on  her  head 
which  exposes  her  soft  brown  hair,  is  dressed  in  a  red  robe 
with  puff'ed  upper  sleeves,  the  lower  part  being  cream-color 
and  slashed  to  show  a  fullness  of  soft  white  material.  Her 
mantle,  which  has  fallen  from  her  shoulders  and  covers 
the  lower  part  of  her  body,  is  dark  green.  The  costume  is 
of  the  fashion  of  the  time,  and  the  colors  can  be  seen  in 
many  contemporary  pictures,  especially  in 'those  of  Raph- 

1  There  is  in  the  Louvre  a  portrait  of  Sixtus  IV  attributed  to  Justus  of  Ghent  very  sim- 
ilar to  this,  but  the  execution  shows  an  earlier  period. 

2  See  U Opera  dei  Grandi  Artisti  Italiani  Raccolta  da  Corrado   Ricci.    T.  2,    Melozzo 
da  Forli. 

86 


THE  HOLDEN  COLLECTION 

ael.  It  is  not  probable  that  the  picture  was  painted  later 
than  the  first  half  of  the  Sixteenth  century.  The  Virgin  is 
neither  the  type  represented  in  the  Middle  Ages  nor  the 
realistic  type  of  Titian's  period,  but  is  idealized  in  the 
manner  of  Fra  Bartolomeo  and  Raphael. 
Wood.  23!  inches  high;  lyyV  inches  wide. 

ITALIAN  (NORTH)  SCHOOL.  Sixteenth  century. 

22  Portrait  of  Robert  Castiglione. 

A  man  with  a  very  expressive  face,  a  long  white  beard,  and 
white  hair,  stands  facing  three-quarters  to  the  left.  He 
wears  a  high  cap,  a  mantle  with  a  large  fur  collar  and  a 
frill  of  lace  around  his  wrists.  His  right  hand,  finely  mod- 
eled, with  a  ring  on  the  little  finger,  holds  the  fur  trimming 
of  his  mantle;  his  left,  gloved,  holds  a  prayer  book  and  the 
glove  of  his  right  hand.  His  arm  rests  against  a  sword-hilt. 
In  the  upper  left-hand  corner  is  a  red  shield,  a  lion  argent, 
supporting  with  his  dexter  paw  a  castle  of  three  towers 
gold,  the  coat-of-arms  of  the  Castiglione  family  in  Milan  ;^ 
and  on  the  bottom  is  the  following  inscription:  ROB- 
ERTUS  CASTILLIONEUS  CREMON^E  PRETOR 
ET  IMPERIALIS  VICARIUS  AN  D  MCCXXXXVI. 
The  picture  is  in  the  manner  of  Titian,  especially  in  the 
treatment  of  the  hands  and  the  garments. 

Canvas.  Oil.  47!  inches  high;  38i  inches  wide. 

ITALIAN  SCHOOL.  Seventeenth  century. 

23  Portrait  of  a  Roman  Lady. 

Dark  brown  background.  A  woman,  with  an  interesting 
and  well-proportioned  head,  wears  a  dark  bodice,  very 
decollete,  filled  in  with  soft  white  lace,  a  white  frill  around 
her  waist,  and  a  white  scarf  which,  gracefully  draped, 
covers  her  head  and  shoulders  but  shows  her  throat  and 
the  right  side  of  her  bosom.  The  folds  of  the  drapery  are 
skilfully  executed.  The  right  hand  is  well-formed  and  rests 
on  a  book  which  hes  on  a  parapet. 

The  picture  is  executed  in  good  style  and  seems  to  be  of 
the  first  half  of  the  Seventeenth  century. 
Canvas.  23!  inches  high;  28!  inches  wide. 

1  Very  probably  there  was  a  branch  of  this  family  in  Cremona  with  the  same  arms.    See 
Litta:  Famiglia  Castiglione  Italiane.T.lll,  for  the  genealogy  of  the  Castiglione  Family. 

87 


THE  CLEVELAND  MUSEUM 

ITALIAN  SCHOOL.  Seventeenth  century. 

24  Portrait  of  Pope  Innocent  X. 

Against  a  black  background,  seen  to  just  below  the  elbows, 
sits  Pope  Innocent  X,  with  his  face,  on  which  is  a  mild  ex- 
pression, slightly  turned  to  the  right. 
He  has  blue  eyes,  a  thin  gray  moustache  and  beard.  Only 
the  left  ear  is  visible  and  that  is  finely  modeled.  He  wears 
a  red  hood  and  cape,  having  a  white  fur  border  and  a 
white  collar.  This  portrait  is  certainly  inspired  and  almost 
copied  from  Velasquez's  Portrait  of  Innocent  X,  which 
was  reproduced  and  imitated  frequently.  This  famous 
original  is  in  the  Doria  palace  in  Rome  and  the  prelimi- 
nary study  for  it  is  in  the  Hermitage  in  Saint  Petersburg. 
Mrs.  Gardner's  portrait  is  very  like  the  well-known  por- 
trait in  the  Wellington  collection^  which  has  been  ques- 
tioned as  to  its  authenticity  yet  is  considered  genuine  by 
many  critics.  When  comparing  our  painting  with  the 
great  masterpiece  in  Rome  its  weakness,  which  may  be 
due  to  re-painting,  becomes  apparent.  The  eyes,  the 
cheeks,  the  nose,  the  forehead  Just  above  it,  and  the 
mouth,  all  show  unmistakable  traces  of  having  been  re- 
painted. 

Canvas.  Oil.  271  inches  high;  21^  inches  wide. 

LANZANI,  POLIDORO,  1515-1565.  Venetian  School. 
Follower  of  Titian  and  influenced  by  Bonifacio  and  Por- 
denone,  later  by  Paul  Veronese. 

25  Death  of  The  Virgin. 

The  Virgin,  clothed  in  a  dark  red  robe  and  black  cloak, 
with  folded  hands  and  a  peaceful  expression,  is  lying  on  a 
bier.  Numerous  figures  with  tragic  expressions  and  varied 
attitudes  and  costumes  stand  about  her,  a  man  in  the 
foreground  holding  a  corner  of  the  white  sheet  which 
covers  her  bier.  The  whole  tone  of  the  picture  is  dark.  The 
drawing  and  grouping  are  interesting. 
This  picture,  which  comes  from  the  Gino  Capponi  Gallery 
in  Florence,  has  been  ascribed  to  Tintoretto,  but  it  seems 
more  properly  to  be  ascribed  to  Polidoro  Lanzani.  There 

^  Beruette,  A.  de;  Velasquez,,  p.  88. 

88 


THE  HOLDEN  COLLECTION 

are  resemblances  here  to  his  figures  in  the  Santa  Conver- 
sazione in  the  Massarenti  Collection  in  Rome. 

The  carved  wood  frame  is  extremely  interesting  and  is  in 
the  style  of  the  period;  upon  it  appears  God  the  Father, 
with  His  right  hand  resting  on  the  terrestrial  globe,  and 
with  cherubim  and  putti  around  Him.  On  each  side  an 
angel  stands  in  a  graceful  attitude,  and  below  are  two 
figures  very  decoratively  posed.  The  modeling  is  in  high 
relief  and  accords  with  the  general  design  of  the  picture 
astonishingly  well. 

Wood.  14^  inches  high;  4IT  inches  wide. 


LUINI,    BERNARDINO,    about    1475-1532.    Milanese 
School. 

Pupil  probably  of  Borgognone,  influenced  by  Bramantino, 
and  Lionardo. 

26  Virgin  and  Infant. 

The  Virgin,  wearing  a  red  robe  showing  a  white  under- 
habit,  a  green  mantle,  and  a  transparent  veil,  which  covers 
her  hair  and  falls  over  her  shoulders,  is  seated  against  a 
green  background  holding  the  Infant  Jesus  in  her  arms. 
Holding  a  flower  in  His  right  hand,  and  with  the  other 
grasping  the  ends  of  a  scarf  which  partly  covers  Him,  He 
looks  smilingly  at  His  mother,  who,  unclasping  her  dress 
about  to  nurse  Him,  smiles  back.  The  figure  of  the  Child 
is  attractive  in  pose,  expression,  and  modeling,  and  the  en- 
tire composition  has  a  gracious  atmosphere  of  mother- 
hood. 

The  picture  is  characteristic  of  Luini's  manner.  The  head 
of  the  Virgin  strongly  resembles  his  Madonna  types;  its 
similarity  to  the  head  of  the  Virgin  in  the  National  Mu- 
seum at  Naples  is  striking.  The  expression  round  the  eyes 
is  very  like  that  in  his  Salome.  The  Child  has  the  head  and 
smile  of  the  Infant  in  Saint  Catherine  Reading,  in  the 
Hermitage,  Petrograd;  His  pose,  with  slight  differences, 
is  like  that  of  the  Infant  in  the  Virgin  and  Child  in  the 
Brera,  Milan. 

Wood,  iii  inches  high;  i6tI  inches  wide. 

89 


THE  CLEVELAND  MUSEUM 

LUINI,  BERNARDINO,  about  1475-1532. 

27  Salome  with  the  Head  of  Saint  John. 

Salome,  dressed  in  a  costume  of  brocaded  rose  material,^ 
cut  low,  disclosing  a  soft  white  guimp  opened  slightly  in 
front  and  held  together  by  a  narrow  ribbon  bow,  holds  a 
chased  silver  dish  into  which  the  executioner  is  about  to 
drop  the  head  of  John  the  Baptist.  Her  face,  which  is 
turned  toward  a  maid  behind  her,  shows  a  dreamy,  medi- 
tative expression  suffused  with  one  of  triumph.  The  fero- 
cious joy  in  the  countenance  of  the  executioner  is  empha- 
sized by  the  look  of  resignation  on  the  dead  face  of  Saint 
John  who  has  suffered  for  his  faith. 

The  influence  of  Lionardo  is  very  apparent  in  the  woman's 
head,  especially  in  the  treatment  of  the  corners  of  her  eyes 
and  her  mouth,  and  also  in  her  hands. 
The  picture  is  similar  to  one  of  the  same  subject  in  the 
Uffizi,^  with  one  exception,  the  arm  of  the  executioner 
who  holds  the  decapitated  head  is  naked  in  the  Uffizi 
picture.  The  style  of  garment  the  executioner  wears  makes 
the  sleeve  in  this  copy  seem  unnecessary. 

Canvas.  Oil.  i8f  inches  high;  23!  inches  wide. 

MORONI,  GIOVANNI  BATTISTA,  1520-25—1578. 
Pupil  and  follower  of  Moretto. 

28  Portrait  of  a  Gentleman  and  His  Wife. 

The  man,  who  faces  three-quarters  to  the  left,  stands  with 
his  right  hand  on  a  book  and  his  left  on  the  hilt  of  a  sword. 
He  is  dressed  in  black  velvet,  with  a  triple  gold  chain 
around  his  neck,  and  a  narrow  jeweled  belt  around  his 
waist;  his  collar  is  high  and  close-fitting,  edged  like  the 
sleeves,  with  a  white  frill.  His  hair  is  brown  and  his  blond 
moustache  and  close-cropped  beard  are  very  skilfully 
painted.  His  wife,  wearing  a  very  elaborate  black  velvet 
gown  with  white  puffed  sleeves  trimmed  with  gold  pas- 
samenterie,  bracelets,  and  a  heavily  jeweled  chain  around 
her  waist,  stands  at  his  side  to  the  right.  Her  left  hand 
rests  on  the  back  of  a  chair,  and  the  right  touches  one  of 

^  On  the  border  of  her  bodice  in  the  copy,  is  printed  the  name,  Leonardo  da  Vinci,  1494. 
It  was  probably  put  there  at  a  later  date,  and  has  no  real  significance. 

2  For  description,  see  Williamson,  George:  'Bernardino  Luini,  p. 67. 

90 


THE  HOLDEN  COLLECTION 

the  numerous  chains  about  her  neck.  Above  the  man  is  in- 
scribed: ^TA.  sv^.  ANNO.  XXXV,  and  above  the  woman: 

^TA.   SV^.  ANNO.  XXVIIJ. 

The  portraits  are  excellent  examples  of  Moroni's  work. 
The  man  seems  a  finer  type  than  his  wife,  whose  face  is 
somewhat  coarse.  The  hands  of  both  figures,  it  should  be 
noticed,  are  well  modeled  and  there  is  a  very  careful  treat- 
ment of  every  detail. 

Canvas.  Oil.  39^  inches  high;  55!  inches  wide. 

PARENZANO,    BERNARDINO,    1437-1491.    School   of 
Padua. 

Influenced  by  Ercole  Roberti,  Domenico  Morone,  Man- 

tegna,  and  Bonsignori. 

29  Procession  from  a  Castle. 

A  king  with  his  retinue,  all  on  horseback,  is  advancing 
toward  the  left.  Behind  them  is  a  castle.  The  background 
toward  the  right  is  a  landscape  with  hills  and  castles  and 
river.  In  the  sky  are  clouds. 

The  picture  is  very  interesting  in  that  it  represents  types 
and  costumes  of  the  period,  and  gives  a  good  reproduction 
of  the  castle.  It  was  formerly  ascribed  to  Squarcione,  but 
has  recently  been  attributed  to  Bernardino  Parenzano,  by 
Mrs.  Berenson,  in  Rassegna  d' Arte} 

Wood.  Tempera.  ic\  inches  high;  18  inches  wide. 

ROSELLO,  pi  JACOPO  FRANCHI.  Active  in  the  early 
part  of  the  Fifteenth  century.  Florentine  School. 

30  Virgin  and  Child. 

The  Virgin,  upon  a  figured  cushion  on  a  bench,  against  a 
golden  background,  is  seated  with  the  Child  on  her  left 
arm.  The  Infant,  a  large  child  with  a  grave  expression, 
clasps  His  right  hand  around  her  neck  and  holds  a  bird 
in  His  other  hand.  His  right  foot  is  on  His  mother's  right 
hand,  which  is  long,  with  tapering  fingers.  The  Virgin's 
mantle  is  black  lined  with  yellow  brocade,  her  bodice 
figured  rose,  and  the  scarf  on  her  head  of  pale  blue,  trim- 
med with  bands  of  conventionalized  design  and  a  beaded 
edge.  She  is  not  an  idealized  type;  her  very  natural  round 
face  and  forehead  and  almond-shaped  eyes  have  an  inno- 
cent and  candid  expression,  while  her  pose  is  extremely 

^  Rassegna  ^ Arte,  1907. 

91 


THE  CLEVELAND  MUSEUM 

simple.  The  Child  wears  a  pale  green  dress  richly  figured, 

over  which  is  a  rose  mantle  with  a  flower  design  and 

beaded  edge. 

The  pose  of  the  Child  and  the  style  of  His  garment  belong 

to  an  earlier  period;  but  several  details,  such  as  the  hand 

round    the    mother's  neck  and  the  bird  with  which  He 

plays,  are  signs  of  the  new  era. 

The  picture  was  attributed  by  Mrs.  Berenson  to  Rosello 

di  Franchi.  There  are  in  fact  some  analogies  with  his 

Virgin  Enthroned,^  as  there  are  also  with  the  picture  by 

Lorenzo  Monaco.^ 

Wood.  Tempera.  Octagonal  27I  inches  high;  2i|  inches 

wide. 

ROSA,  SALVATORE.  1615-1673.  Neapolitan  School. 
Born  in  Ranella.  Died  in  Rome.  Pupil  of  Fracanzano, 
Falcone  and  Ribera.  He  lived  in  Naples,  Florence,  and 
Rome. 
31  Portrait  of  Himself.  Copy  of  his  picture  in  the  Pitti. 
A  very  dark  background;  the  painter  is  seated,  holding  in 
his  left  hand  a  palette  with  three  brushes.  He  wears  a  dark, 
close-fitting  garment  with  a  full  white  triple  collaret.  His 
head,  with  its  mass  of  brown  hair  combed  back  from  a 
high  forehead,  florid  face,  and  red,  sensual  lips,  is  very 
expressive.  The  edges  of  the  lower  lids  of  his  dark  brown 
eyes  are  slightly  puff^ed  and  inflamed. 
The  portrait  is  a  reproduction  of  the  one  in  the  Pitti 
Gallery,  Florence.^  The  countenances  are  identical,  with 
this  diff'erence,  that  the  face  of  the  one  in  the  Pitti  Gallery 
is  even  more  elongated  and  appears  slightly  older  than  the 
face  in  this  copy  and  the  eyes  show  none  of  the  little  swel- 
lings and  reddish  effect  seen  here.  The  drawing  of  the  arm 
and  of  the  garments  is  much  better  and  more  clearly  in- 
dicated in  the  original,  and  the  thumb  which  goes  through 
the  opening  in  the  palette  and  the  ends  of  the  other  fingers 
are  distinctly  seen.  This  copy  may  have  been  retouched. 
The  collar  is  very  exactly  copied. 

Canvas.  Oil.  30!  inches  high;  24!  inches  wide. 

Exhibited  in  Gallery  III,  Renaissance  Art  No.  47. 

^Reproduced  in  Rassegna  d^Arte,  1905,  p. 9. 
'Gallery  33,  Metropolitan  Museum  of  Art. 
'Ozzola:  yUa  e  Opere  di  Sahatore  Rosa,  PI.  XIV. 

92 


THE  HOLDEN  COLLECTION 

ROSA,  SALVATORE,  1615-1673. 
32  Battle  Scene. 

A  background  showing  clouds,  flashes  of  sunhght,  rocks, 
and  two  fighting  eagles.  In  the  foreground  are  figures  of 
Roman  soldiers  and  battle  horses.  The  movements  of  the 
soldiers  are  intensely  dramatic,  but  there  is  an  artificial 
and  academic  feeling  in  the  handling.  The  background 
shows  the  artist's  best  manner,  as  is  the  case  with  many 
decorative  pictures  of  the  Seventeenth  century.  The 
picture  can  be  compared  in  composition  and  execution  to 
the  one  in  the  Louvre  called  "A  Battle  Scene." 
Canvas.  Oil.  59  inches  high;  113!  inches  wide. 
Not  Exhibited. 

SALVIATI,  IL:  real  name  FRANCESCO  DEI  ROSSI, 

1 5 10-1563,  Attributed  to.  Florentine  School. 
Pupil  and  follower  of  Bronzino,  influenced  by  the  Ve- 
netians. 
23  Portrait  of  Giuliano  De  Medici. 

Against  the  background  of  a  dark  curtain  to  the  right  and 
a  landscape  of  trees  and  sky  to  the  left,  stands  the  figure 
of  a  young  man  seen  to  below  the  waist.  His  well-formed 
head,  with  its  interesting  expression  and  curly  brown  hair, 
faces  three-quarters  to  the  right.  He  has  on  a  loose  black 
coat,  the  lower  sleeves  reddish  brown,  edged  with  frills. 
His  tunic  is  brown,  cut  low,  and  showing  a  soft  white 
undergarment.  Both  hands  are  well  modeled;  the  right, 
which  is  in  shadow,  rests  on  a  red  bench,  the  left  holds  a 
written  paper. 

The  portrait  does  not  resemble  the  historic  descriptions 
that  we  have  of  Giuliano,  who  is  represented  as  having  a 
large  crooked  nose,  an  ugly  mouth,  and  short  round 
beard.^  Raphael's  lost  painting^  of  him,  a  copy  of  which 
by  Alessandro  Allori,  is  in  the  Uffizi,  accords  with  this 
description.  Here,  also,  the  paper  which  he  holds  in  his 
hand  is  probably  an  allusion  to  his  literary  tastes.  It  is 
very  possible  that  our  portrait  was  influenced  by  the 
statue  of  Giuliano  made  by  Michelangelo,^  who  repre- 

^Steinmann:  Geheimnis  der  Medicis  Graeber,  p.  173. 
^Gniyer:  Raphael,  Peintre  de  Portraits,  V.  2,  p. 202. 

"Knapp,  Fritz:  Michelangelo,  p.  109;  Brockhaus:  Michelangelo  and  the  Medici  Capella, 
p.S2. 

93 


THE  CLEVELAND  MUSEUM 

senting  him  as  young  and  beardless,  has  given  an  idealized 
rather  than  an  exact  portrait.  Here  the  pose  of  the  head 
and  neck  is  obviously  in  imitation  of  this  statue.  In  Christ 
Church  Collection,  Oxford,  there  is  a  drawing  of  Giuliano 
which  also  shows  him  idealized  and  without  a  beard. 
Formerly  attributed  to  Sebastiano  del  Piombo,  the  paint- 
ing seems  more  closely  related  to  the  work  of  Salviati.^ 
Wood.  Oil.  3 81  inches  high;  30!  inches  wide. 

SAN  SEVERINO,  LORENZO  DA.  Died  1503.  Umbrian 
School. 
Pupil  of  Niccolo  d'Alunno  (da  Foligno),  influenced  by 
Crivelli. 
34  Madonna  and   Child   with   Saints:    Saint  Mark  and 

Saint  Anthony  on  the  Left,  Saint  Augustine  and  Saint 

Sebastian  on  the  Right. 

Seated  on  a  wooden  throne  before  a  golden  background, 
the  Virgin  holds  with  her  left  hand  the  left  foot  of  the 
Infant  Christ,  who  stands  on  His  mother's  lap.  With  His 
right  hand  in  benediction  He  bends  over  and  holds  out  His 
left  hand  to  Saint  Mark,  who  kneels  in  an  attitude  of 
adoration  at  the  foot  of  the  throne.  Saint  Anthony,  who  is 
above  Saint  Mark,  leans  on  his  left  hand  and  holds  his 
staff  in  his  right.  On  the  other  side  of  the  throne  kneels 
Saint  Augustine,  his  white  mitre  beside  him,  while  above 
him  stands  SaintSebastian  with  hands  folded  in  adoration. 
The  Madonna  is  dressed  in  a  rich  brocade  trimmed  with  a 
golden  border.  Her  mantle  is  black,  and  on  her  head  is  a 
white  veil.  The  Child's  frock  is  rose-colored.  Saint  Mark 
wears  an  ecru  robe  and  a  mantle  of  yellow.  Saint  Anthony 
a  monk's  dark  cloak  with  hood.  Saint  Augustine,  who  has 
wavy  blond  hair,  has  on  a  figured  red  robe  with  golden 
border,  while  a  rose-colored  cap,  with  a  feather  in  the 
front,  completes  the  page's  dress  of  Saint  Sebastian. 
Behind  the  heads  are  golden  nimbi  with  names  of  the 
personages  inscribed. 

The  Virgin  unites  with  charm  a  nobility  of  expression  that 
is  marvelously  represented  by  the  artists  at  the  end  of  the 
Fourteenth  century  and  during  the  Fifteenth,  but  after- 
ward lost.  The  Infant,  with  His  winning  expression,  can 

^  See  the  Virgin  in  the  Holy  Family,  reproduced  in  Graphische  Kunste,  igj2y   Bei- 
lage  p.  68. 

94 


THE  HOLDEN  COLLECTION 

be  regarded  as  an  intermediary  type  between  the  serious 
Infant  who  gives  the  benediction  and  the  Infant  who  so 
sweetly  fondles  His  mother. 

Wood.  Tempera.  56^  inches  high;  ^;^j  inches  wide. 

SIENESE  SCHOOL.  Late  Fourteenth  century. 

35  The  Crucifixion. 

Against  a  gold  background  with  a  gold  border  of  raised 
rosettes,  such  as  are  often  seen  in  Sienese  paintings,  is  the 
crucified  Christ.  At  the  foot  of  the  cross  kneels  Mary 
Magdalene  with  flowing  hair.  She  wears  a  red  mantle  hav- 
ing a  narrow  gold  border.  On  one  side  is  the  Virgin,  in  a 
brown  dress  covered  by  a  dark  mantle  that  envelops  her 
head,  and,  like  her  dress,  falls  in  a  straight  line  to  her  feet. 
Three  stars  adorn  the  mantle,  one  on  each  shoulder,  and 
one  on  the  head.  Above  the  cross  in  a  small  red  space  are 
written  the  Christ  letters,  I  N  R  I. 
A  charming  picture,  simply  composed  but  in  the  great 
style.  The  Christ  has  the  calm,  resigned  expression  of  the 
representations  of  the  Fourteenth  century.  The  Virgin 
gazes  before  her,  but  notwithstanding  her  composed  ex- 
terior, shows  signs  of  deep  suffering  in  her  far-off  look. 
Saint  John  and  the  Magdalene  look  up  at  the  Christ  with 
despairing  love  and  longing. 

Wood.  Tempera.  I2,i  inches  high;  5!  inches  wide. 

SIENESE  SCHOOL.  Early  Fifteenth  century. 

36  Virgin  and  Child. 

Against  a  golden  background  is  the  Virgin,  with  Jesus  in 
her  arms,  the  Child's  face  pressed  close  to  hers.  His  hands 
clasping  her  neck.  Two  angels  are  placing  a  crown  on  her 
head.  The  Virgin,  dressed  in  the  Byzantine  fashion,  wears 
a  red,  figured  mantle  with  a  golden  border,  and  her  bodice, 
which  is  disclosed  in  front,  has  a  golden  band  around  the 
neck.  The  Child,  in  a  long,  faded  green  dress  with  figures 
of  small  golden  flowers,  is  also  dressed  in  the  Byzantine 
fashion.  The  lower  part  of  His  body  is  enveloped  in  a  yel- 
low material  with  golden  stripes. 

Treated  absolutely  in  the  Byzantine  manner,  the  picture 
contains  all  sorts  of  details  which  show  that  it  could  not 

95 


THE  CLEVELAND  MUSEUM 

have  been  painted  earlier  than  the  end  of  the  Fourteenth 
century  or  the  beginning  of  the  Fifteenth.  The  smiling 
expression  of  the  Child,  as  well  as  the  landscape  with  the 
tree,  indicates  a  later  period.  Types  that  approach  this 
picture  are  two  paintings  by  Ambrogio  Lorenzetti,  Vir- 
gin and  Child,  in  the  Academy  of  Siena,  and  Virgin  and 
Child,  in  the  Monastery  of  Siena.^ 

Wood.  Tempera.  15!  inches  high;  iii  inches  wide. 

SODOMA,  IL;  real  name  GIOVANNI  ANTONIO  BAZZI, 

1477-1549,  School  of.  Lombard  School. 

37  Crucifixion. 

On  the  cross  hangs  the  crucified  Christ.  His  expression 
is  calm,  His  body  well-modeled.  At  the  foot  of  the  cross, 
dressed  in  a  blue  robe  covered  by  a  red  mantle,  and  with 
flowing  hair,  kneels  Mary  Magdalene.  To  her  right.  Saint 
John,  in  a  brown  tunic  and  red  mantle,  stands  with  hands 
outstretched,  sadly  contemplating  the  Christ.  His  feet 
are  bare,  a  characteristic  of  the  saints  and  apostles.  On 
the  right  of  the  cross,  her  face  expressing  profound  suffer- 
ing, the  fainting  Virgin  is  supported  by  the  Holy  Women. 
This  group  is  freely  copied  from  Sodom a's  Descent  from 
the  Cross,  in  the  Siena  Academy.^  The  Virgin  has  on  a 
red  robe  and  a  blue  mantle  with  a  hood,  and  her  feet  are 
shod,  as  she  is  never  represented  barefooted.  The  woman 
at  the  right  wears  a  faded  brown-violet  tunic  and  a  green 
mantle;  the  one  at  the  left,  a  white  scarf  on  her  head  and  a 
brown  shawl  over  her  shoulders.  The  cut  of  the  clothes  is 
simple,  and  the  way  they  fall  from  the  shoulders  recalls 
Perugino  and  his  school.  The  colors  harmonize  well.  The 
background  panorama,  largely  composed  of  buildings,  is 
in  the  Renaissance  style.  The  sky  is  blue  and  well  treated. 
From  the  standpoint  of  drawing,  composition,  and  tech- 
nique, the  picture  as  a  whole  is  ably  handled. 

Canvas.  Oil,  23!  inches  high;  i8i  inches  wide. 

ijacobsen,  Emil:  Sienesishe  Kunstler  der  Trecento.  PI.  15  and  20. 
2Jacobsen,  Emil:   Sodoma  und  das  Cinquecento  in  Siena,   PI.  X.    Mrs.  Berenson  in  the 
Rassegna  d^ Arte  mentions  this  resemblance. 

96 


THE  HOLDEN  COLLECTION 

TIEPOLO,  GIOVANNI  BATTISTA,  1696-1770.  Venetian 
School. 

Pupil    of    Gregorio    Lazzarini.    Strongly    influenced    by 
Piazetta,  and  by  the  works  of  Paul  Veronese. 

38  A  Sketch  for  a  Ceiling. 

Two  angels  are  seen  floating  before  a  background  of  light 
greyish-green  sky.  One  of  them  has  two  trumpets,  one 
of  which  he  blows.  Below  are  figures  of  two  women,  one 
looking  up  at  the  angels  as  if  she  heard  the  sound  of  the 
trumpet,  the  other  seeming  to  dream.  To  the  right  of  the 
women  is  a  huge  rock  behind  which  appears  a  sail. 
A  beautiful  Httle  picture,  fully  expressing  Tiepolo's  style. 
The  foreshortening  of  the  angel,  the  delicate  gradations  of 
color,  the  drawing  of  the  women — every  least  detail  is 
worked  out  in  his  own  particular  manner.  The  idea  may 
have  been  a  preliminary  one  for  the  ceiling  executed  about 
1753,  in  the  Rezzonico  palace  in  Venice,  which  represents 
the  Apotheosis  of  Jean  Baptiste  Rezzonico,  father  of  Pope 
Clement  XIII. ^  The  group  of  angels  is  almost  identical 
with  the  one  in  this  fresco,  but  the  rest  of  the  picture 
differs  from  it. 

Canvas.  Oil.  i6i  inches  high;  13!  inches  wide. 

VENETIAN  SCHOOL.  Sixteenth  century. 

39  Portrait  of  an  Old  Man. 

Against  a  dark  background  stands  the  figure  of  a  man, 
seen  to  the  waist,  holding  a  pair  of  gloves  and  a  note-book 
in  his  perfectly  modeled  hands.  He  wears  a  black  tunic 
with  a  high,  close-fitting  collar  and  a  white  collarette 
under  a  great  black  mantle  with  revers.  His  head  is  very 
expressive  and  well  treated.  The  beard,  moustache,  and 
ears,  are  done  with  careful  attention. 
This  interesting  portrait  is  very  much  in  the  manner  of 
Tintoretto,  the  color  as  well  as  the  treatment  of  the  head 
and  hands  suggesting  this  opinion. 
Wood.  36!  inches  high;  25!  inches  wide. 

VENETIAN  SCHOOL.  Sixteenth  century. 

40  Preparation  for  The  Crucifixion. 

The  scene  is  at  the  foot  of  a  mountain  near  the  city  of 
Jerusalem.  Christ,  wearing  the  crown  of  thorns,  is  being 

iMolmenti,  Pompeo:  Tiepolo.  P.6i,  pi.  45. 

97 


THE  CLEVELAND  MUSEUM 

Stripped  of  His  garments  to  be  crucified,  while  near  the 
cross  stands  a  soldier  with  a  ferocious  expression,  holding 
a  hammer  in  his  right  hand  and  a  basket  of  nails  in  his 
left.^  Behind  the  soldier  is  a  spectator  who  sympathizes 
with  the  Christ.  On  the  other  side  of  the  cross  are  gath- 
ered four  persons,  one  of  whom,  an  old  man  with  a  mous- 
tache and  a  long  beard,  who  wears  a  mantle  with  a  hood, 
points  to  Christ,  while  he  converses  with  a  young  man 
in  a  dark  brown  garment  and  red  mantle,  who  also  points 
to  Christ.  The  old  man  is  handing  an  oblong  piece  of 
wood,  on  which  are  written  the  Christ  letters,  I  N  R  I, 
to  the  young  man  near  him,  who  in  turn  looks  at  the  sol- 
dier with  a  hammer.  The  old  man  appears  to  be  a  portrait 
of  Paolo  Veronese  and  the  man  behind  the  soldier,  of 
Titian.^  Higher  up,  between  the  holy  women,  is  the 
fainting  Virgin.  Spectators  stand  around. 
The  picture  is  eloquent  and  interesting,  the  treatment  be- 
ing distinctly  Venetian,  resembling  in  some  respects  the 
art  of  Veronese. 

Copper.  Oil.  21H  inches  high;  18A  inches  wide. 

Not  Exhibited. 

VENETIAN  SCHOOL.  Sixteenth  century. 
41  The  Woman  Taken  in  Adultery. 

The  background  is  a  landscape  in  the  Venetian  manner 
with  blue  sky  and  houses.  Christ,  in  a  rose-colored  gar- 
ment, half  kneels,  with  His  right  hand  on  the  ground, 
while,  turning  His  head  to  the  men  behind.  He  points  with 
a  finger  of  His  other  hand  to  the  woman  taken  in  adultery. 
The  woman,  in  a  blue  and  white  bodice,  cut  low,  looks 
downward  with  an  unhappy,  repentant  expression.  Her 
eyes  and  nose  are  red  as  if  from  weeping.  Around  her 
stand  her  accusers  in  various  poses  and  costumes,  observ- 
ing the  Christ,  waiting  to  hear  the  sentence  He  will  pro- 
nounce. Christ  looks  at  them  as  if  saying,  "He  that  is 
without  sin  among  you,  let  him  cast  the  first  stone."^ 
Canvas.  Oil.  13!  inches  high;  18  inches  wide. 
Not  Exhibited. 

1  Before  the  Fifteenth  century,  the  preparation  for  the  crucifixion  was  not  represented. 
The  theme  first  appeared  in  the  mystery  plays  as  a  sequence  in  the  life  of  Christ,  influenced  by 
the  Meditations  of  Bonaventura.  Male:  U Art  Religieux  de  la  Fin  du  Moyen  Age.  p. 29. 

2  The  portrayal  of  an  artist  was  frequent  in  the  Renaissance. 
8 John  8:7. 

98 


THE  HOLDEN  COLLECTION 

VENETIAN  SCHOOL.  Seventeenth  century. 
42  Martyrdom  of  Saint  Andrew. 

Against  a  landscape  background,  Saint  Andrew,  almost 
nude,  kneels  in  prayer,  his  hands  clasped,  and  looking  at 
the  cross  in  the  distance,  from  which  rays  fall  upon  him. 
An  executioner  and  two  other  men  are  observing  him; 
one  looking  out  in  the  direction  of  the  cross,  another 
holding  Saint  Andrew's  arm  while  attempting  to  hide  the 
instrument  of  death;  and  the  third,  with  his  head  turned 
away,  picking  up  a  drapery  with  which,  probably,  to  cover 
.  the  Saint. 

Canvas.  Oil.  i6i  inches  high;  13^  inches  wide. 


VERONESE,  PAOLO;  real  name  PAOLO  CAGLIARI, 

1 528-1 588.  Venetian  School. 
Pupil  of  Antonio  Badile,  formed  under  the  influence  of 
Domenico  Brusasorci. 

43  Marriage  of  Saint  Catherine. 

Copy  of  the  painting  in  the  Uffizi,  Florence. 
The  Virgin,  seated,  holds  in  her  lap  the  sleeping  Jesus, 
whose  head  rests  upon  a  pillow.  Her  beautiful  face  wears 
a  serious,  meditative,  almost  melancholy  expression; 
with  her  left  hand  she  is  closing  her  rose-colored  bodice 
as  if  she  had  just  finished  nursing  the  Child.  A  veil  hangs 
from  the  back  of  her  head,  showing  her  brown  hair,  which 
is  parted  in  the  middle.  Saint  Catherine,  with  the  palm 
leaf,  bends  over  the  Infant.  A  type  of  the  rich  Venetian 
lady  of  the  period,  she  is  sumptuously  clothed  in  a  striped 
silk  dress,  while  her  blond  hair,  arranged  with  strings  of 
pearls  and  jewels,  falls  loosely  down  her  back.  In  the  lower 
right-hand  corner,  each  showing  just  to  the  waist,  stand 
Saint  John  the  Baptist  and  Saint  Joseph;  the  latter  bends 
over  Saint  John,  with  his  left  hand  on  his  shoulder.  Saint 
John  with  his  right  hand  holds  the  left  foot  of  the  sleeping 
Infant,  which  he  kisses;  in  his  other  hand  he  holds  the 
cross. 

This  copy  is  a  very  exact  one. 

Canvas.  Oil.  19I  inches  high;  26'  inches  wide. 

99 


THE  CLEVELAND  MUSEUM 

VINCI,  LIONARDO  DA,  1452-1519,  School  of.    Floren- 
tine School. 
44  Virgin  and  Child. 

Her  head  in  rehef  against  a  wall,  the  Virgin  is  seated  with 
the  Infant  Jesus  in  her  lap.  She  wears  a  purple  robe  and  a 
yellow-lined  mantle,  which  is  cut  low  and  clasped  to- 
gether by  a  jeweled  pin.  Her  head,  with  its  wavy  dark  hair 
falling  to  her  shoulders,  is  inclined  to  one  side.  The  eyes, 
half-closed,  give  her  face  a  meditative  expression.  The 
Child,  nude  and  finely  drawn,  turns  His  well-modeled 
head  towards  His  mother. 

On  either  side  of  the  wall  behind  the  Virgin's  head  are  two 
windows  through  which  are  seen  two  fine  landscapes;  on 
the  right,  an  Alpine  lake  scene  with  mountains;  on  the 
left  an  old  castle  with  figures  and  animals  minutely  and 
correctly  drawn. 

This  attractive  picture  was  ascribed  in  the  Jarves  cata- 
logue to  Lionardo  da  Vinci,  where  several  authorities 
are  quoted  to  prove  the  attribution,  Cav.  Prof.  Miglirini, 
Director  of  the  UfBzi,  Baron  Gariod  of  the  Turin  Museum, 
Monsieur  Rio,  writer  on  art  and  the  author  of  a  Life  of 
Lionardo,  W.  M.  Rossetti,  Holman  Hunt  and  Baron 
Liphart. 

The  history  of  the  picture  is  as  follows:  "It  was,"  accord- 
ing to  Mr.  Jarves,  "in  the  possession  of  a  certain  Leopoldo 
Franceschi,  a  native  of  Saint  Miniatello,  near  the  birth- 
place and  residence  of  Lionardo,  Vinci,  whence  he  derived 
his  name.  It  was  then  without  frame,  dingy  from  dirt,  and 
considered  of  small  value.  At  his  death  it  came  into  pos- 
session of  a  carpenter,  by  name  of  Monta,  whose  heirs  sold 
it  in  1857  for  a  trifling  sum  to  Vincenzo  Corsi,  of  Florence. 
He  gave  it  to  the  well-known  artist  and  restorer,  Torello 
Bacri,  to  be  cleaned.  On  the  removal  of  the  dirt  it  was 
found  to  be  in  excellent  condition  and  a  picture  of  much 
value.  His  bill  was  only  three  dollars,  which  is  proof  of 
the  little  work  necessary  to  put  it  into  good  order.  Seeing 
it  soon  after  and  believing  it  to  be  by  Lionardo,  I  purchas- 
ed the  entire  collection,  chiefly  with  the  view  of  securing 
this  painting."^ 
Wood.  Oil.  i6i  inches  high;  I2i  inches  wide. 

^In  the  Jarves  Catalogue,  p.  i8. 

100 


THE  HOLDEN  COLLECTION 

OTHER  SCHOOLS. 

GELLEE,  CLAUDE,  called  CLAUDE  LORRAIN,  1600- 
1682.  French  School. 

Pupil  of  Agostino  Tassi  in  Rome;  of  Claude  Deruet  in 
Nancy. 

45  Landscape. 

A  landscape  showing  a  stream  in  the  foreground,  several 
fine  old  trees,  and  a  wooden  bridge  with  a  man,  boy,  and 
dog  crossing  it.  To  the  right  is  a  building  toward  which 
horsemen  are  approaching,  and  in  the  far  distance  the 
outlines  of  mountains  are  seen  against  a  blue-grey  sky. 
In  the  foreground,  to  the  right,  a  man  is  seated.  While 
this  picture  lacks  the  delicacy  and  lightness  of  many  of 
Lorrain's  landscapes,  it  is  a  good  example  of  his  art,  and 
expresses  in  many  respects  the  poetry  of  his  treatment. 

Canvas.  Oil.  29I  inches  high;  371T  inches  wide. 

Exhibited  in  Gallery  VL  Painters.  French.  No.  16. 

DURER,  ALBERT,  1471-1528  German  School. 

46  Adoration  of  The  Shepherds. 

The  scene  is  an  old  ruin.  In  a  small  basket  lies  the  Infant 
Jesus,  quite  nude,  while  around  Him  are  little  angels 
in  adoration  and  the  kneeling  Virgin  leaning  over  Him. 
The  Virgin  wears  a  robe  and  a  mantle  of  a  blue-green 
color,  and  over  her  head  a  scarf.  To  the  right,  in  a  red 
mantle  with  a  hood,  kneels  Saint  Joseph.  His  long  face, 
long  beard,  and  thick  hair  are  very  unlike  the  round-faced, 
short-bearded  type  which  usually  represents  him.  The 
candle  which  he  holds  naively  suggests  a  night  scene. 
Behind  the  Virgin  stand  two  shepherds,  much  concerned 
about  the  great  event.  In  the  sky  a  floating  angel  an- 
nounces the  miracle  to  the  shepherds  in  the  far  distant 
landscape.  The  traditional  ox  and  ass  appear  above  the 
Child.  The  introduction  of  animals  into  scenes  of  the  Na- 
tivity dates  from  early  Christian  times,  although  their 
presence  was  not  mentioned  by  any  of  the  evangelists. 
The  theme  was  variously  interpreted,  but  the  apocryphal 
version  of  Pseudo  Matthew^  was  the  one  kept  alive  dur- 

1  See,  for  the  representation  of  animals,  Male^   V  Art  Religieux  au  XIII  Steele ^  and 
Melanges  d' Jrcheologies  et  </'  Histoire,  Vol.  IV.,  p.  335. 

lOI 


THE  CLEVELAND  MUSEUM 

ing  the  centuries,  the  hearts  of  men  responding  to  the 
idea  that  their  Saviour  was  welcomed  by  the  humblest 
of  animals  at  a  time  when  He  was  ignored  by  men. 
This  picture,  every  detail  of  which  seems  by  the  master, 
may  be  by  a  pupil  of  Diirer.  The  background  and  the 
personages  are  entirely  in  his  style;  indeed,  the  group  with 
the  Infant  Jesus  is  freely  imitated  from  the  Nativity  in 
the  Munich  Pinakothek,  and  the  types  of  the  Virgin  and 
Saint  John  and  one  of  the  shepherds  may  be  seen  in  the 
Adoration  of  the  Magi  and  the  Apostle  in  the  Uffizi,  and 
in  the  Madonna  and  Child  in  the  Imperial  Museum  in 
Vienna. 

There  was  a  monogram,  A  D,  on  the  picture,  but  the  fact 
that  it  has  disappeared  with  the  cleaning  of  the  painting 
indicates  that  it  was  not  in  the  painting  originally. 

Canvas,   transferred   from   wood.  22f  inches  high;  11 

inches  wide. 

Exhibited  in  Gallery  V.  Painters.  Dutch  and  Spanish. 

No.  2. 


JORDAENS,    JACOB,    1593-1678,    School    of.    Flemish 
School. 

47  Landscape  With  Nude  Figures  and  Cattle. 

The  background  shows  a  landscape,  done  in  soft,  dark 
tones,  very  characteristic  of  the  Seventeenth  century 
Flemish  School.  To  the  left,  are  seated  three  women 
and  a  man,  nude  with  the  exception  of  one  of  the  women 
who  is  enveloped  in  a  mantle  which  exposes  her  breast  and 
one  of  her  arms.  They  are  apparently  resting  after  a  walk. 
To  the  right  are  a  cow,  and  an  old  man,  the  latter  dressed 
in  blue  drapery  which  covers  part  of  his  body  and  holding 
a  long  stick.  In  the  far  distance  to  the  right  are  cattle. 
The  picture  is  typical  of  Jordaens,  especially  in  the  treat- 
ment of  the  dimpled  skin  so  characteristic  of  him.* 

Canvas.  Oil.  3ii  inches  high;  46I  inches  wide. 

Exhibited  in  Lobby  of  Gallery  V.  No.  10. 

iRooses,  Maximilien:  Jacob  Jordaens,  his  life  and  work,  p.  40.  Martyrdom  of  Saint 
Appohnia,  and  p.  44,  The  Miracle  of  Saint  Martin. 

102 


THE  HOLDEN  COLLECTION 

SNYDERS,  FRANZ,  1 579-1657.  Dutch  School. 
Pupil  of  P.  Breughel. 
48  A  Stork,  a  Hare  and  Some  Fish  Hung  up  in  a  Larder. 
Exhibited  in  Lobby  of  Gallery  V.  No.  19. 

SPRANGER,   BARTHOLOMEUS    (SPRANGER   VAN 
DEN  SCHILDEN),  1546-1611,  Flemish  School. 

Pupil  of  Jan  Mandyns  and  of  Dalem.  Greatly  influenced 

by  Parmigianino. 

49  Allegorical  Figures  of  Summer  and  Autumn,  or  Ceres 
and  Bacchus. 

On  a  pathway,  the  background  to  the  left  of  which  is 
decoratiyely  draped  with  a  curtain,  a  man  and  woman, 
almost  life-size,  are  walking.  He  clasps  her  right  hand  in 
his  left.  The  woman,  Ceres,  wears  a  short  bodice  edged 
by  a  broad  band,  from  the  ends  of  which  hangs  an  orma- 
ment  in  the  shape  of  a  man's  head,  a  drapery  which 
covers  her  hips  and  falls  in  folds  about  her,  exposing  her 
right  leg,  and  sandals.  In  her  left  hand  she  grasps  a  sickle, 
while  sheaves  of  wheat,  indicating  the  harvest  season, 
are  entwined  in  her  hair.  The  man,  Bacchus,  is  nude 
except  for  a  piece  of  goat-skin  which  crosses  his  chest  and 
covers  his  loins.  The  outer  fur  of  the  skin  falls  down  his 
back,  perhaps  a  reminder  of  the  coming  winter.  His  right 
hand,  holding  a  bunch  of  grapes,  the  symbol  of  the  vin- 
tage, rests  against  his  hip.  Leaves  are  entwined  in  his  hair. 
Flowers  lie  on  the  ground  at  the  feet  of  Ceres;  fallen 
leaves,  near  Bacchus. 

First  attributed  to  Tibaldeo  Pellegrino,  Mrs.  Berenson 
believes  this  picture  to  be  by  Paolo  Farinati,  with  strong 
traces  of  the  influence  of  Liberale.  It  was,  however,  with- 
out doubt,  done  by  Spranger,^  a  painter  at  the  court  of 
Vienna.  Another  Ceres  and  Bacchus^  by  Spranger  is 
almost  identical  with  this  one,  and  it  is  only  necessary  to 
look  at  reproductions  of  the  artist's  other  work  to  be 
convinced  of  the  authorship  of  this.  There  is  a  drawing 

^  The  writer  is  indebted  to  Mr.  Bryson  Burroughs  for  suggestmg  the  name  of  Spranger. 

2  Jahrbuch  der  Kunst  His  tor  is  ch  en  Sammlungen.  Article  von  Ernst  Diaz;  Der  Hof- 
meister  Bartholomeus  Spranger.  Fig.  14.  Also  analogies  may  be  seen  in  Fig.  15,  25,  26  and 
the  Tal.   17-19. 

103 


THE  CLEVELAND  MUSEUM 

in  the  British  Museum  said  to  be  by  Hendrick  Goltzius^ 
which  shows  these  identical  figures,  but  drawn  only  to 
the  waist.  Goltzius  was  essentially  an  engraver,  and  as  he 
did  little  and  poor  work  in  painting,  but  reproduced  many 
of  Spranger's  pictures,^  it  would  be  natural  to  con- 
clude that  this  drawing  was  a  reproduction  of  Spranger's 
painting,  unless,  indeed,  one  believes  Spranger  himself  to 
be  the  author  of  the  drawing. 

Canvas.  Oil.  64I  inches  high;  39I  inches  wide. 

TENIERS,DAVID,T^^yo««^^r,i6io-i690.FlemishSchool. 
Pupil  of  his  father,  David  Teniers;  influenced  by  Rubens 
and  Brouwer. 

50  A  Peasant  Marriage. 

Through  the  open  window  of  a  large  room,  which  has  vari- 
ous accessories  on  the  wall  and  the  ceiling  of  which  is  sup- 
ported by  a  long  wooden  beam,  is  seen  a  landscape.  An 
open  door  on  the  right  also  discloses  a  landscape.  A  wo- 
man, having  a  bonnet  on  her  head  and  wearing  an  apron, 
is  just  entering  the  room.  In  her  left  hand  she  holds  a  plat- 
ter of  food,  in  her  right  a  jug.  Many  people  with  expres- 
sive faces  and  gestures  fill  the  room  and  watch  the  newly 
married  pair,  who  are  dancing.  A  number  of  people  are 
grouped  round  a  table  to  the  left.  A  woman  holds  in  her 
left  hand  a  shoulder  of  ham  and  in  her  right  a  knife.  Next 
to  her  stands  a  man  holding  a  jug  full  of  beer,  which  he 
serves  to  the  vivacious  guests.  Behind  this  group  stands 
a  youth,  with  a  filled  glass  in  his  right  hand,  while  with 
his  left  he  flourishes  a  hat.  Probably  he  is  drinking  the 
health  of  the  newly  married  pair.  A  small  dog  is  intro- 
duced as  a  spectator.  The  bride  wears  a  white  bonnet,  a 
blue  skirt,  a  white  apron,  and  a  cream  bodice  cut  low, 
showing  a  white  under-garment;  the  bridegroom,  green- 
ish trousers,  and  a  brown  vest,  opened  slightly  so  as  to 
show  his  white  shirt.  His  cap  is  blue. 
The  whole  picture  is  full  of  movement,  and  has  that  in- 
tensity of  life  which  is  found  in  most  of  the  Flemish  pic- 
tures of  this  period.  The  execution  is  charming.  There  are 

^  Handzeichnungen  Alter  Meister  der  Hollandischen  Schule.  Ser.  IV,  lief.  VI.  Bl.  48. 
2  Allgemeines  Kunstkr,  Lexicon,  by  Hans  Wolfgang  Singer,  T.  II,  p.  69. 

104 


THE  HOLDEN  COLLECTION 

certain  analogies  with  Teniers'  picture,  Interior  of  a  Flem- 
ish Peasant  House,  and  especially  with  his  picture,  A 
Peasant  Marriage,  both  in  the  Munich  Pinakothek.  The 
picture  is  signed:  D.  Teniers,  J.  E. 

Canvas.  Oil.  17^  inches  high;  23I  inches  wide. 

Exhibited  in  Gallery  V.  Painters.   Dutch  and  Spanish. 

No.  21. 

WOUWERMAN,  PETER,  1623-1682.  Flemish  School. 
Pupil  of  his  father  Pauwel  Jooster  Wouwerman,  and  of 
his  brother  Philip, 

51  Landscape  With  Figures. 

Beneath  a  grey  sky  covered  with  clouds,  a  blacksmith's 
hut,  a  house,  and  a  tree  are  seen  to  the  left.  The  black- 
smith is  hammering  at  his  forge.  In  front  of  the  house 
sits  his  wife;  next  to  her  at  a  low  table  is  her  little  boy 
looking  at  some  richly  dressed  cavaliers,  with  plumes  on 
their  heads,  who  have  just  stopped  to  have  their  horses 
shod.  Two  men  are  busy  attending  to  them.  To  the  right 
are  people  observing  the  scene.  One  is  on  crutches;  an- 
other seems  to  have  fallen  down  in  his  eagerness  to  see. 
In  the  far  distance  can  be  observed  a  horseman  and  a 
town  with  environing  landscape.  It  is  probably  to  this 
town  that  the  cavaliers  are  bound.  In  the  near  fore- 
ground are  two  chickens  and  to  the  right,  a  barking  dog. 
The  landscape,  which  presents  some  analogies  to  the  art- 
ist's Scene  in  the  Stable  of  an  Inn,  in  the  Dresden  Gal- 
lery, is  well  handled,  the  types  being  interesting,  the  move- 
ments carefully  observed,  and  the  perspective  good. 

Canvas.  Oil.  17!  inches  high;  22  inches  wide. 

Exhibited  in  Gallery  V.   Painters.  Dutch  and  Spanish. 

No.  25. 

SPANISH  SCHOOL.  Seventeenth  century. 

52  Old  Woman  Asleep. 

Against  a  very  dark  background  an  old  woman,  holding  a 
staff  between  her  knees,  and  a  pair  of  spectacles  in  her 
hands,  is  sitting  asleep  in  an  armchair  covered  with  a  light 
brown  drapery.  She  wears  a  black  bodice,  and  over  her 
skirt  a  grey  apron.  On  her  head  is  a  light  yellow  cloth 

105       - 


THE  CLEVELAND  MUSEUM 

which  covers  her  forehead  and  the  sides  of  her  face,  and 
falls  to  her  shoulders.  The  open  book  on  a  table  at  her 
side  indicates  her  occupation  before  she  fell  asleep. 
An  interesting  portrait,  with  a  slight  analogy  to  the  paint- 
ings of  Pablo  Legote  and  a  remote  suggestion  of  the  man- 
ner of  Rembrandt. 

Canvas.  Oil.  I2f  inches  high;  i6i  inches  wide. 

Exhibited  in  Gallery  V.  Painters.  Dutch  and  Spanish. 

No.  20. 

53  BUST. 

Bronze  and  Colored  Marble. 
Italian.   XVI  century. 

54  VENETIAN  CANDELABRA. 

XVI  Century. 

The  John  Huntington  Collection. 


106 


GALLERY  V— PAINTERS 
DUTCH  AND  SPANISH 


BOL,  Ferdinand. 
Born  at  Dordrecht,  1611.  Died  at  Amsterdam,  1681. 
Studied  under  Rembrandt  about  1630.  His  work  when 
in  the  master's  studio  was  often  so  good  as  to  be  mis- 
taken for  that  of  Rembrandt.  Later  he  became  a  bad 
imitator  and  his  work  greatly  deteriorated. 

1  Portrait  of  a  Man. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

DURER,  Albert. 

2  Adoration  of  the  Shepherds. 

The  Holden  Collection,  No.  46. 

GOYA  Y  LUCIENTES,  Jose  de. 
Born  at  Fuendetodos  in  Aragon,  1746.  Died  at  Bordeaux, 
1828.  Entered  the  studio  of  Martinez  at  the  age  of  sixteen. 
Went  to  Rome,  returning  to  Spain  in  1774.  Was  appointed 
court  painter  in  1795. 

3  Don  Tadeo  Bravo  de  Rivero. 

Lent  by  the  F.  Kleinberger  Galleries. 

4  Marquesa  de  Bajamar. 

Lent  by  M.  Knoedler  and  Company. 

EL  GRECO;  Dominico  Theotocopuli,  called. 
Born  in  Crete[.^]  between  1545  and  1550.  Died  at  Toledo, 
16 14.  Nothing  positive  is  known  of  his  birth  and  youth, 
but  there  is  reason  to  believe  that  he  studied  under  Titian 
in  Venice  before  1570,  and  that  in  that  year  he  went  to 
Rome.  His  methods  would  suggest  the  influence  of  Tinto- 
retto, even  if  he  did  not  work  in  his  studio.  The  Spanish 
ambassador  in  Rome  was  recruiting  artists  there  for  the 
decoration  of  the  Escorial  and  El  Greco  may  have  gone 
to  Spain  in  the  hope  of  participating  in  this  work.  He 
seems  to  have  been  in  Toledo  by  1577.  Soon  after  that 
time  we  find  him  executing  important  decorative  works 

107 


THE  CLEVELAND  MUSEUM 

in  that  city,  later  in  Madrid  and  other  Spanish  cities. 
Besides  religious  works  he  painted  numerous  portraits. 

5  Holy  Virgin. 

Lent  by  the  Ehrich  Galleries. 

6  St.  John. 

Lent  by  the  Ehrich  Galleries. 

HALS,  Frans. 
Born  at  Antwerp[?]  1580.  Died  at  Haarlem,  1666.  The 
family  returned   to  Haarlem  before   1600.     Probably  a 
pupil  of  Van  Noordt  and  Van  Mander.  His  greatest  works 
are  in  the  Museum  of  the  city  where  he  died. 

7  Portrait  of  Wilhelm  van  Heythuysen. 

Lent  by  Mr.  Charles  L.  Hutchinson. 

8  Portrait  of  a  Young  Man. 

Lent  by  the  F.  Kleinberger  Galleries. 

9  The  Flute  Player. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

JORDAENS,  Jacob,  1593-1678,  School  of.  Flemish. 

10  Landscape  with  Figures  and  Cattle. 

The  Holden  Collection,  No.  47. 

KAULBACH,  Friedrich  August  von. 
Born  in  Hanover,  1850. 

1 1  A  Shady  Place. 

The  Hinman  B.  Hurlbut  Collection. 

MABUSE,  Jean  Gossaert,  called. 
Born  at  Maubeuge,  about  1472.  Died  at  Antwerp,  1533.  He 
was  admitted  as  free  master  into  the  Guild  of  St.  Luke  at 
Antwerp  in  1503.  While  there  he  fell  under  the  influence 
of  Quentin  Matsys.  In  1508  he  went  to  Rome,  where  he 
remained  until  1509.  He  is  known  to  have  resided  and 
worked  in  many  Flemish  cities. 

12  Eleanor  of  Austria. 

Lent  by  Mr.  Michael  Dreicer. 

MURILLO,  Bartolome  Esteban. 
Born  at  Seville  in  1617.  Died  there  in  1628.  Apprenticed 
to  Juan  del  Castillo,  a  painter  who  was  a  relative  of  his. 
He  went  to  Madrid  in  1643  where  he  was  treated  with 
great  kindness  by  Velasquez,  then  at  the  height  of  his 
reputation.   As   a   result   of   Velasquez's   instruction  he 

108 


PAINTERS.    DUTCH  AND  SPANISH 

abandoned  the  idea  of  going  to  study  in  Italy  and  in  1646 
returned  to  Seville,  where  he  lived  and  worked  with  in- 
creasing success  till  the  end  of  his  life. 

13  St.  Joseph  and  the  Child  Jesus. 

Lent  by  the  F.  Kleinberger  Galleries. 

POURBUS,  Franz,  the  Elder. 
Born  at  Bruges  in  or  before  1545.  Died  at  Antwerp,  1581. 
Son  of  Peter  Pourbus,  whose  pupil  he  was  until  1562  when 
he  went  to  Antwerp  to  the  studio  of  De  Vriendt.  Was  ad- 
mitted as  free  master  into  the  Guild  of  St.  Luke  at  Ant- 
werp and  into  that  of  Bruges  in  1569.  He  painted  religious 
subjects  and  portraits. 

14  Portrait  of  a  Nobleman  with  Dog. 

Lent  by  the  Ehrich  Galleries. 

REMBRANDT,  Rembrandt  Harmenz  Van  Rijn,  called. 
Born  at  Leyden[?]  Died  at  Amsterdam,  1669.  The  son 
of  a  well-to-do  miller,  he  was  sent  to  the  university  of  his 
native  city  in  1620,  where,  however,  he  did  not  stay  long, 
being  apprenticed  to  Jacobson  Swanenbruch,  a  painter  of 
no  great  mark.  In  1624  he  removed  to  Amsterdam,  and 
entered  the  studio  of  Pieter  Lastman.  Not  sympathizing 
with  his  method,  Rembrandt  returned  to  Leyden  in  the 
same  year,  and  set  himself  to  form  his  own  style.  Here  he 
worked  until  1631,  when  he  removed  finally  to  Amster- 
dam, where  he  lived  until  his  death. 

15  Saskia  as  Minerva. 

Lent  by  Mr.  Breckenridge  Long. 

16  Portrait  of  Himself. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

17  Portrait  of  Himself. 

Lent  by  Mr.  Frank  G.  Logan. 

RUBENS,  Sir  Peter  Paul. 
Born  at  Siegen,  1577.  Died  at  Antwerp,  1640.  His  father, 
a  lawyer  and  alderman  of  Antwerp,  was  living  in  Westpha- 
ha  in  political  and  religious  banishment.  After  his  death 
in  1587  the  family  returned  to  Antwerp,  ruined.  Rubens 
began  his  studies  in  the  studio  of  Verhoecht  and  later  in 
that  of  Van  Noordt.  He  set  out  for  Italy  in  1600.  In  Venice 
he  met  the  Duke  of  Mantua,  who  became  his  patron; 

109 


THE  CLEVELAND  MUSEUM 

with  him  he  went  to  Florence  and  Rome,  returning  to 
Mantua  in  1602.  The  next  year  he  was  sent  on  a  dip- 
lomatic mission  to  the  court  of  Spain.  He  returned  to 
Mantua  and,  still  in  the  Duke's  service,  to  Rome.  Here 
he  remained  till  1608,  when  he  went  back  and  settled  in 
Antwerp  where  he  became  court  painter  to  the  Archduke, 
and  his  work  was  very  popular.  In  1622  Marie  de  Medici, 
Queen  of  France,  invited  him  to  Paris.  He  was  there  again 
in  1625.  In  1628  he  went  again  to  Spain  as  diplomatic 
agent  of  the  Infante  Isabella,  governor  of  the  Nether- 
lands. While  there  he  painted  King  Philip  IV  and  others 
about  the  court.  In  1629  he  was  dispatched  to  London 
as  secretary  of  the  privy  council  of  the  Netherlands. 
Having  concluded  the  mission  with  which  he  was  charged 
he  was  knighted  by  King  James  I  and  returned  home.  The 
rest  of  his  life  was  spent  in  painting  and  diplomacy. 
Despite  the  constant  interruptions  to  his  artistic  labors 
more  than  2250  pictures  are  known  to  have  been  painted 
by  him  besides  nearly  500  drawings. 

18  Meleager  offering   the  Head  of  the  Boar  of  Calydon  to 

Atalanta. 

Lent  by  the  Kleinberger  Galleries. 

SNYDERS,  Franz. 
1 579-1657  Dutch  School.  Pupil  of  P.  Breughel. 

19  A  Stork,  a  Hare  and  some  Fish  hung  up  in  a  Larder. 

The  Holden  Collection,  No.  48. 

SPANISH  SCHOOL. 

20  Old  Woman  Asleep. 

The  Holden  Collection,  No.  52. 

TENIERS,  David,  The  Younger, 

21  A  Peasant  Marriage. 

The  Holden  Collection,  No.  50. 

TER  BORCH,  Gerard. 

Born  at  Zwolle,  16 17.  Died  at  Deventer,  168 1.  Studied 
under  his  father  who  was  a  painter;  later  at  Haarlem 
under  Pieter  Molijn  from  1632  to  1635.  In  the  latter  year 
he  went  to  England  and  then  to  Italy.  About  1641  he  re- 
turned to  Amsterdam.  In  1 646-1 648  he  was  at  Miinster 
and  painted  the  picture  of  the  Ratificationof  the  Treaty  of 

no 


PAINTERS.    DUTCH  AND  SPANISH 

Munster.  Thence  he  went  to  Spain  where  he  was  received 
with  honor  by  Philip  IV  and  knighted  by  him.  He  visited 
France  on  his  way  home  and  Hved  from  1 650-1 654  at 
Zwolle,  removing  in  the  latter  year  to  Deventer,  where  he 
resided  for  the  rest  of  his  life. 

22  Portrait  of  a  Lady. 

Lent  by  the  Ehrich  Galleries. 

VAN  DER  HEYDEN,  Jan. 
Born  at  Gorinchem,  1637.  Died  at  Amsterdam,  17 12.  His 
only  instruction  was  a  few  desultory  lessons  from  a  glass 
painter.  He  traveled  and  painted  in  Belgium,  Germany 
and  England.  The  figures  in  his  pictures  are  usually  by 
Adrian  Van  de  Velde. 

23  Chateau  and  Garden. 

Lent  by  the  F.  Kleinberger  Galleries. 

VELASQUEZ,  Diego  Rodriguez  da  Silva  y. 
Born  at  Seville,  1599.  Died  in  Madrid,  1660.  Became  a 
pupil  of  Herrera  and  afterwards  of  Pacheco,  and  became 
distinguished  as  a  painter  while  still  in  his  teens.  In  1622 
he  went  to  Madrid,  and  in  1623  was  appointed  painter  to 
Philip  IV.  On  the  advice  of  Rubens,  who  visited  Madrid  in 
1628,  Velasquez  went  to  Italy,  where  he  remained  from 
1629  to  1631.  In  1649  he  revisited  Italy,  returning  to 
Spain  in  1651.  He  was  appointed  grand  marshal  of  the 
palace  in  1652  and  in  1659  was  made  a  Knight  of  Santiago. 

24  Man  with  a  Wine  Glass. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

.    WOUWERMAN,  Jan. 

25  Landscape  with  figures. 

The  Holden  Collection,  No.  51. 


Ill 


Ui 


GALLERY  VI— PAINTERS.  FRENCH 


BELLE,  Alexis  Simon. 
Born  in  Paris,  1674.  Died  there  in  1734.  Pupil  of  Fran9ois 
de  Troy.  Member  of  the  Academy  1703.  Popular  court 
painter. 

1  Portrait  of  the  Daughter  of  Louis  XV. 

Lent  by  the  F.  Kleinberger  Galleries. 

BOUDIN,  Eugene. 
Born  at  Honfleur  in  1835.  Died  1898. 

2  A  Trouville. 

3  A  Trouville. 

4  Au  Bord  de  la  Mer. 

Lent  by  Mr.  Albert  Rosenthal. 

BRETON,  Jules  Adolphe. 
Born  at  Courrieres,  Pas-de-Calais,  1827.  Died  1906.  Offi- 
cier  of  the  Legion  d'  Honneur  1876. 

5  The  Tired  Gleaner. 

The  Hinman  B.  Hurlbut  Collection. 

CABANEL,  Alexandre. 
Born  at  Montpelier,  1823.  Died  in  Paris,  1889.  Entered 
Picot's  studio  in  Paris  and  gained  the  Prix  de  Rome  in 
1845.  On  his  return  to  Paris  he  became  the  fashionable 
portrait  painter  of  the  court  of  Napoleon  IIL  His  vogue 
continued  after  the  fall  of  the  Empire,  and  he  was  a  most 
popular  teacher. 

6  Genoveva  Amieri. 

The  Hinman  B.  Hurlbut  Collection. 

COROT,  Jean  Baptiste  Camille. 
Born  at  Paris,  1796.  Died  there  1875.  Began  exhibiting  in 
1827.  Was  decorated  with  the  Legion  d' Honneur  in  1846, 
made  Officier  in  1867.  At  the  age  of  twenty-two  became 
a  student  of  art  in  Paris,  and  subsequently  in  Italy. 

7  Morning  on  the  Lake. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

113 


THE  CLEVELAND  MUSEUM 

8  L'Etang  aux  Villas. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

9  La  Bacchanal  a  la  Source,  Sunseuir  de  Marly-le-Roy. 

Lent  by  Mrs.  Robert  D.  Evans. 

DAUMIER,  Honore. 
Born   at  Marseilles,    1808.   Died   at  Valmondois,    1879. 
Famous  for  his  satires  and  caricatures,  one  of  which,  on 
Louis  Philippe,  caused  his  imprisonment  in  1832.  Between 
1850  and  i860  he  became  totally  blind. 

10  The  Siesta. 

Lent  by  the  Brooklyn  Museum. 

DAVID,  Jacques  Louis. 
Born  at  Paris,  1748.  Died  at  Brussels,  1825.  A  nephew  of 
Boucher  from  whom  he  received  his  first  instructions. 
He  became  pupil  of  Vien,  and  in  1774  obtained  the  Prix  de 
Rome.  He  returned  from  Italy  in  1780  and  was  elected  to 
the  Academy  in  1783.  He  took  part  in  the  government  at 
the  Revolution  and  was  thrown  into  prison  at  the  fall  of 
Robespierre.  He  was  an  original  member  of  the  Institut 
and  became  first  painter  to  the  Emperor  Napoleon.  On 
the  fall  of  his  friend  and  patron  he  fled  to  Brussels,  where 
he  Hved  until  his  death. 

1 1  Portrait  of  a  Prefect  of  Police. 

Lent  by  the  Ehrich  Galleries. 

DIAZ  DE  LA  PENA,  Narcisse  Virgille. 
Born  at  Bordeaux,  1808.  Died  at  Men  tone,  1876.  Cheva- 
lier of  the  Legion  d'  Honneur. 

12  In  the  Forest  of  Fontainebleau. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

13  Landscape. 

The  Hinman  B.  Hurlbut  Collection. 

HARPIGNIES,  Henri. 
Born  at  Valenciennes  18 19.  Decorated  with  the  Legion 
d*  Honneur  in  1875;  Officier  1883. 

14  An  Old  Oak. 

Lent  by  Messrs.  Knoedler  and  Company. 

114 


PAINTERS.    FRENCH 


LE  NAIN,  Mathieu. 

Born  at  Laon,  1607.  Died  in  Paris,  1677.  He  and  his 
brothers  were  all  painters  and  worked  together  in  Paris 
from  about  1630.  They  became  members  of  the  Academy 
in  1648  in  which  year  the  other  brothers  died.  Mathieu 
painted  portraits  and  religious  subjects. 

15  Portrait  of  Henri   Coiffier   Ruze   d'Effiat,   Marquis   de 
Cinq  Mars. 

Lent  by  Mr.  E.  Hodgkins. 
Exhibited  in  the  Court  of  Tapestries. 

GELLEE,  CLAUDE,  called  CLAUDE  LORRAIN. 

16  Landscape. 

The  Holden  Collection,  No.  45. 

MANET,  Edouard. 
Born  in  Paris,  1832.  Died  there  in  1883.  A  pupil  of  Cou- 
ture, he  traveled  extensively  in  Europe  after  leaving  his 
master  and  was  deeply  impressed  by  the  works  of  Velas- 
quez. About  1863  he  became  the  acknowledged  leader 
of  the  school  afterwards  styled  "Impressionistes."  Dec- 
orated with  the  cross  of  the  Legion  d'  Honneur. 

17  The  Music  Lesson. 

Lent  by  Messrs.  Knoedler  and  Company. 

MILLET,  Jean  Fran9ois. 
Born  in  Normandy,  18 14.  Died  at  Barbizon,  1875.  His 
first  instruction  was  received  from  Langlois  at  Cher- 
bourg in  1832.  He  was  given  a  small  pension  by  the  Muni- 
cipal Council  to  study  in  Paris,  where  he  went,  entering 
Delaroche's  studio  in  1837.  He  exhibited  for  the  first  time 
at  the  Salon  in  1840.  Returning  to  Cherbourg  in  the  same 
year  he  supported  himself  by  painting  portraits.  He  revis- 
ited Paris  in  1842  and  1845,  settHng  finally  at  Barbizon 
in  1849.  He  was  decorated  with  the  Legion  d'  Honneur  in 
1868. 

18  The  Seated  Spinner. 

Lent  by  Mrs.  Robert  D.  Evans. 

MONET,  Claude. 
Born  in  Paris  in  1824.  Pupil  of  Gleyre  for  a  month,  since 
self-taught. 

19  Mount  Kolsaas. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

115 


THE  CLEVELAND  MUSEUM 

MONTICELLI,  Adolphe. 
Born  at  Marseilles  in  1824.  Died  there  in  1886.  Received 
his  early  training  in  the  Art  School  of  Marseilles.  Settled 
in  Paris  in  the  forties  and  became  intimate  with  Diaz. 
He  was  very  popular  under  the  second  Empire  and  re- 
tired at  its  fall  to  his  native  city  where  he  lived  until  his 
death. 

21  A  Garden  Party. 

22  The  Christening  Party. 

23  The  Burning  of  Sodom. 

24  Sylvan  Dance. 

25  The  Bohemians. 

26  The  Star  of  Bethlehem. 

27  On  the  Riverbank. 

28  Un  Concert  Sylvestre. 

29  A  Sylvan  Ceremony. 

30  Feeding  the  Chickens. 

31  Fete  Champetre. 

32  The  River,  Twilight. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

PUVIS  DE  CHAVANNES,  Pierre  Cecile. 
Born  at  Lyons,  1824.  Died  in  Paris,  1898.  Went  to  Italy 
as  a  youth  and  studied  there  with  Henri  Scheffer.  Re- 
turning to  Paris  he  worked  under  Delacroix  and  Couture; 
but  soon  abandoned  the  classic  tradition  and  proceeded 
to  work  out  his  theories  alone.  Commander  of  the  Legion 
d'Honneur. 

23     Christian  Inspiration. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

ROUSSEAU,  Pierre  Etienne  Theodore. 
Born  at  Paris,  18 12.  Died  at  Barbizon,  1867. 
34    Landscape. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

116 


PAINTERS.  FRENCH 

ROYER,  Henri. 

25  Portrait  of  Hon.  Myron  T.  Herrick. 

Lent  by  Mrs.  Herrick. 

TOCQUE,  Louis. 
Born  in  Paris,  1696.  Died  there  1772.  Studied  under  Ber- 
tin  and  Rigaud.  He  became  a  member  of  the  Academy  in 
1734.  He  was  invited  to  the  Russian  court  where  he  spent 
two  years,  going  thence  to  the  Danish. 

26  Portrait  of  Comte  de  Berlaimont. 

Lent  by  the  Ehrich  Galleries. 

TROYON,  Constant. 
Born  at  Sevres,  18 10.  Died  in  Paris,  1865.  ChevaHer  of  the 
Legion  d'  Honneur. 

37  Return  from  the  Fields. 

The  Hinman  B.  Hurlbut  Collection. 

VAN  LOO,  Jean  Baptiste. 
Born  at  Aix  in  1684.  Died  there  in  1745.  Pupil  of  his 
father,  Louis  Van  Loo.  Visited  and  worked  in  Italy,  Paris 
and  England  where  he  was  most  successful  for  a  time. 
Member  of  the  Academy  of  Paris,  1740. 

38  Portrait  of  a  Cardinal. 

Lent  by  the  Ehrich  Galleries. 

VI  BERT,  Jean  Georges. 
Born  in  Paris,  1840.  Died  there,  1904.. 

39  Asking  Alms. 

The  Hinman  B.  Hurlbut  Collection. 


117 


GALLERY  VII— PAINTERS.   ENGLISH 


BEECHEY,  Sir  William,  R.A. 
Born  at  Burford,  1753.  Died  at  Hampstead,  1839.  Stu- 
dent of  the  Royal  Academy  in  1772.  Painted  at  first  in 
the  manner  of  Hogarth  at  Norwich.  On  settling  in  Lon- 
don he  became  fashionable,  and  in  1793  court  painter. 
He  was  knighted  and  became  Royal  Academician  in  1798. 
Portrait  of  Mrs.  Ashley. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

CONSTABLE,  John,  R.A. 
Born  at  East  Bergholt,  1776.  Died  in  London,  1837.  Stu- 
dent at  the  Royal  Academy,  1799.  Exhibited  his  first  pic- 
tures there  in  1802.  Three  of  his  paintings  made  a  great 
impression  at  the  Paris  Salon  in  1 824  and  contributed  to  the 
rise  of  the  Barbizon  school.  Elected  Royal  Academician 
in  1829. 
Arundel  Mill  and  Castle. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

GAINSBOROUGH,  Thomas,  R.A. 
Born  at  Sudbury,  1727.  Died  in  London,  1787.  When  he 
was  fifteen  he  was  sent  to  London  and  learned  etching 
from  Gravelot,  an  engraver.  He  studied  painting  under 
Hayman.  In  1745  he  returned  to  Sudbury  and  set  up  as 
a  portrait-painter;  he  removed  to  Ipswich  in  1746  and  in 
1760  to  Bath,  where  he  became  very  successful.  He  was 
one  of  the  original  twenty-six  Royal  Academicians  on 
the  foundation  of  that  Institution  in  1768.  He  left  Bath 
in  1774  for  London.  By  1779  he  was  only  rivalled  in  popu- 
larity by  Sir  Joshua  Reynolds. 
Portrait  of  Mr.  Provis. 

Lent  by  the  Ehrich  Galleries. 
Portrait  of  Mrs.  Provis. 

Lent  by  The  Bevan  Collection,  England. 

Portrait  of  Lady  Ferrers. 

Lent  by  The  Bevan  Collection,  England. 

119 


THE  CLEVELAND  MUSEUM 

HOGARTH,  William. 
Born  in  London,  1697.  Died  there  in  1764.  Apprenticed  to 
a  silversmith  and  engraver  in  about  17 12.  Designed  and 
engraved  illustrations,  cards,  etcetera.  About  1727  he  be- 
gan to  be  known  as  a  painter  in  oils.  In  1729  he  married 
the  daughter  of  Sir  James  Thornhill,  a  prominent  painter 
of  the  day.  His  most  famous  satirical  works,  painted  and 
in  a  great  measure  engraved  by  himself,  were  produced 
between  1732  and  his  death. 

6  Portrait  of  a  Young  Woman. 

Lent  by  Mrs.  Frank  D.  Millet. 

7  Portrait  of  Anne,  Viscountess  Irwin. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

8  Portrait  of  Mrs.  William  James. 

Lent  by  The  Worcester  Art  Museum. 

HOPPNER,  John,  R.A. 

Born  in  London,  1758.  Died  there  in  18 10.  Student  at  the 
Royal  Academy  in  1775.  Began  exhibiting  in  1780.  Royal 
Academician  in  1795. 

9  Portrait  of  the  Countess  of  Oxford  and  Child. 

Lent  by  Messrs.  Knoedler  and  Company. 

10  Portrait  of  John  Frere. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

KNELLER,  Sir  Godfrey,  barl. 
Born  at  Liibeck,  1646.  Died  at  Twickenham,  England, 
1723.  Studied  painting  in  Amsterdam  under  Rembrandt 
and  Bol.  In  1672  he  went  to  Rome,  and  became  a  pupil  of 
Carlo  Maratti  and  Bernini.  He  also  studied  in  Venice.  He 
returned  to  Hamburg,  whence  in  1674  he  went  to  London. 
He  became  court  painter  to  Charles  II,  James  II  and 
WilHam  III. 

11  Portrait  of  Sir  Charles  Sedley,  English  poet,  playwright 
and  wit.  Born,  1639.  Died,  1701. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

12  Portrait  of  Mrs.  Fisher,  of  Packington,  Warwick. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

120 


PAINTERS.    ENGLISH 

LAWRENCE,  Sir  Thomas,  P.R.A. 
Born  at  Bristol,  1769.  Died  in  London,  1830.  Became  a 
successful  portrait  artist  almost  in  his  childhood,  support- 
ing his  family  by  making  portraits  in  pastel  at  Bath  at  the 
age  of  ten.  Entered  the  Royal  Academy  schools  in  1787 
and  in  1792  was  appointed  portrait-painter  in  ordinary 
to  the  King.  Royal  Academician  in  1794.  Knighted  in 
18 1 5.  President  of  the  Royal  Academy  in  1820. 

13  The  Irish  Beauty. 

Lent  by  Mr.  Albert  Rosenthal. 

14  True  Love. 

Lent  by  the  Ehrich  Galleries. 

15  Portrait  of  Miss  Carrington. 

Lent  by  Mrs.  Robert  D.  Evans. 

LELY,  Sir  Peter. 
Born  at  Soest,  16 18.  Died  in  London,  1680.  Studied  at 
Haarlem.  On  the  death  of  Vandyke  in  1640  he  visited 
England,  where  he  met  with  favor  by  imitating  that  mas- 
ter. He  was  presented  to  Charles  I,  whose  portrait  he 
painted  in  1643.  He  also  painted  Cromwell,  but  it  was 
not  until  the  Restoration  that  he  achieved  his  greatest 
successes.  Charles  II  made  him  court  painter,  and  knight- 
ed him  in  1679. 

16  Lady  in  Yellow  Satin  Dress. 

Lent  by  Messrs.  Knoedler  and  Company. 

RAEBURN,  Sir  Henry,  R.A. 

Born  in  Edinburgh,  1756.  Died  there  in  1823.  Began  as  a 
miniature  painter  at  the  age  of  16.  On  Reynolds'  advice 
he  went  to  Rome  in  1785,  returning  to  Edinburgh  in  1787. 
Royal  Academician,  18 15;  knighted,  1822. 

17  Portrait  of  Mrs.  Margaret  Mair. 

Lent  by  the  Messrs.  Lewis  and  Simmons. 

18  Portrait  of  John  Wauchope. 

Lent  by  Mr.  Albert  Rosenthal. 

19  Portrait  of  Lady  Inglis. 

Lent  by  the  Ehrich  Galleries. 

20  Portrait  of  the  Reverend  David  Campbell. 

Lent  by  Messrs.  Knoedler  and  Company. 

121 


THE  CLEVELAND  MUSEUM 

21  Portrait  of  Sir  William  Napier. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

22  Portrait  of  Lady  Janet  Traill. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

REYNOLDS,  Sir  Joshua,  P.R.A. 

Born  at  Plympton,  Devonshire,  1723.  Died  in  London, 
1792.  Went  to  London  in  1740,  and  studied  under  Thomas 
Hudson,  the  foremost  portrait  painter  of  his  day.  Re- 
turned to  Plymouth  in  1743,  and  to  London  again  in 
1744.  In  1749  Commodore,  afterwards  Admiral  Keppel, 
took  him  in  his  vessel  to  Italy.  He  visited  Leghorn  and 
Florence,  and  stayed  in  Rome  for  two  years,  returning  to 
London  via  Paris  in  1752.  Here  he  settled,  becoming  the 
most  popular  painter  of  his  day  and  universally  regarded, 
as  he  was,  the  greatest  of  English  portrait  painters.  In 
1768,  on  the  foundation  of  the  Royal  Academy,  he  became 
its  first  President  as  a  matter  of  course.  His  early  works 
up  to  1760,  were  painted  in  a  blue  monochrome,  which 
was  afterwards  glazed  with  transparent  color.  These  hav- 
ing often  faded,  the  cool  underpainting  predominates.  His 
later  works  were  painted  direct  without  this  glazing  and 
have  faded  but  little. 

23  Portrait  of  Miss  May  Townshend. 

Lent  by  Messrs.  Knoedler  and  Company. 

24  Portrait  of  Lord  George  Sackville. 

Lent  by  Messrs.  H.  Reinhart  and  Son. 

25  Portrait  of  Himself. 

Lent  by  Mr.  Edward  Drummond  Libbey. 

26  Isabella  Carr,  of  Etat,  Northumberland. 

Lent  by  Mrs.  G.  M.  Whitin. 

ROMNEY,  George. 
Born  at  Dalton-in-Furness,  1734.  Died  at  Kendal,  1802. 
Worked  at  first  in  his  father's  cabinet  shop.  Apprenticed 
in  1755  to  one  Steele,  a  portrait  painter  at  Kendal.  Be- 
gan his  career  there,  but  went  to  London  in  1762.  Studied 
for  a  while  in  Paris  in  1764.  Visited  Italy  in  1773,  return- 
ing in  1775.  Settling  there,  he  became  so  popular  that 
"the  town  was  divided  into  the  Romney  and  Reynolds 
factions." 

122 


PAINTERS.   ENGLISH 

27  Study  of  Lady  Hamilton. 

Lent  by  the  Ehrich  Galleries. 

TURNER,  Joseph  Mallord  William,  R.A. 
Born  in  London,  1775.  Died  there  in  1851.  He  drew  and 
painted  from  childhood.  He  was  placed,  according  to  tra- 
dition, with  an  architectural  draughtsman;  early  in  his 
teens  he  was  employed  coloring  prints.  Sketched  with  Gir- 
tin  and  perhaps  had  some  hints  in  oil  painting  from  Sir 
Joshua  Reynolds.  In  1789  he  entered  the  Academy 
schools  and  soon  after  began  a  long  series  of  drawings  for 
engravers.  His  search  for  subjects  took  him  all  over  Great 
Britain.  He  was  elected  Associate  of  the  Royal  Academy 
in  1799  and  Academician  in  1802.  In  the  same  year  he 
made  his  first  visit  to  the  Continent,  and  it  was  not  till 
1 8 19  that  he  first  saw  Italy. 

28  View  in  Venice. 

Lent  by  Mrs.  M.  Cameron  Goode. 

VAN  DYCK,  *$■/>  Anthony. 

Born  in  Antwerp,  1599.  Died  in  London,  1641.  At  the  age 
of  ten  he  was  apprenticed  to  Van  Balen  and  at  sixteen 
he  became  a  pupil,  and  later  an  assistant,  of  Rubens.  In 
161 8  he  was  admitted  into  the  Guild  of  St.  Luke.  He  left 
Rubens  and  went  to  London  in  1620  but  was  back  in 
Antwerp  in  the  next  year  on  his  way  to  Italy.  He  stayed 
there,  chiefly  at  Genoa,  until  1626;  returning  to  his  native 
city  to  find  himself  famous.  In  1632  he  was  invited  to 
England  by  Charles  I.  Made  painter  in  ordinary  to  the 
King  and  knighted.  He  had  apartments  in  the  royal  pal- 
ace of  Blackfriars  and  became  the  most  fashionable,  as 
indeed  he  was  the  only  great,  painter  in  the  country  at  the 
time.  In  1 634-1 635  he  visited  Brussels  and  in  1640  Ant- 
werp and  Paris,  but  returned  to  London  to  die. 

29  Portrait  of  the  Countess  of  Southampton. 

Lent  by  Mr.  Albert  Rosenthal. 

30  Portrait  of  Sir  Thomas  Chaloner. 

Lent  by  the  Ehrich  Galleries. 

31  Portrait  of  Queen  Henrietta  Maria. 

Lent  by  The  Bevan  Collection,  England. 

123 


THE  CLEVELAND  MUSEUM 

32     Portrait  of  the  Earle  of  Kennoul. 

Lent  by  M.  Knoedler  and  Company. 
Exhibited  in  the  Court  of  Tapestries. 

WATTS,  George  Frederick,  R.A. 
Born  in  London,  18 17.  Died  at  Guildford,  1904.  Entered 
the  schools  of  the  Royal  Academy  in  1835,  but  soon  left 
and  studied  for  a  short  time  with  William  Behnes,  a  sculp- 
tor. Having  progressed  enough  to  exhibit  some  portraits 
in  the  Academy  in  1837,  he  entered  a  competition,  in 
1842,  for  the  decoration  of  the  palace  of  Westminster,  in 
which  he  won  a  prize.  With  the  money  he  earned,  he  went 
to  Italy,  where  he  settled  for  a  time  in  Florence,  returning 
home  in  1847.  For  the  rest  of  his  long  life,  he  worked 
arduously  at  painting  and  sculpture,  in  both  of  which  arts 
he  won  eminence. 

23     Portrait  of  Joseph  Joachim,  the  violinist. 
Lent  by  Mr.  Charles  L.  Hutchinson. 

34    CONSOLE. 

Frame  of  wood  carved  and  gilt.  Top  Breche  Violette 
marble. 

English.  XVIII  Century. 

The  John  Huntington  Collection. 


124 


GALLERY  VIII— PAINTERS.  AMERICAN 


AMERICAN  PAINTERS  OF  THE  NINETEENTH 

CENTURY 

BIERSTADT,  Albert,  N.A. 

Born  at  Diisseldorf,  1830.  Died  in  New  York,  1902.  Came 
to  the  United  States  as  a  child. 

1  Starr  King  Mountain,  California. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

2  The  Storm. 

Lent  by  the  David  Gallery. 

BROWN,  John  George,  N.A. 
Born  at  Durham,  England,  1831.  Died  in  New  York,  1903. 
Studied  in  the  Art  School  at  New  Castle  and  at  the  Royal 
Academy.  Came  to  America  in  1853. 

3  Cold  Comfort. 

The  Hinman  B.  Hurlbut  Collection. 

BUTLER,  George  G.,  N.A. 
Born,  1873.  Died,  1907. 

4  A  Capri  Lace  Maker. 

Gift  of  Miss  H.  C.  Butler. 

CHURCH,  Frederic  E.,  N.A. 
Born  at  Hartford,  Conn.,  1826.  Died  in  New  York,  1900. 
Pupil  of  Thomas  Cole. 

5  The  Monastery  of  Our  Lady  of  the  Snows. 

The  Hinman  B.  Hurlbut  Collection. 

COLE,  Thomas,  N.A. 
Born  at  Bolton-le-Moors,  Lancashire,  1801.  Died  at  Cat- 
skill,  N.  Y.,  1848.  Of  American  parentage.  Follower  of 
Durand. 

6  Landscape. 

Lent  by  the  Holland  Galleries. 

7  Landscape. 

Lent  by  the  Ehrich  Galleries. 

125 


THE  CLEVELAND  MUSEUM 

De  HAAS,  Mauritz  F.  H.,  N.A. 
Born  at  Rotterdam  in  1832.  Died,  1895.  Began  painting 
in  Holland;  later  worked  in  England.  Came  to  America 
in  1858. 

8  View  off  Appledore  Island. 

The  Hinman  B.  Hurlbut  Collection. 

DURAND,  Asher  Brown,  N.A. 
Born  at  South  Orange,  N.  J.,  1796.  Died  in  that  city,  1886. 
Began  life  as  an  engraver;  became  a  landscape  painter  in 

1835. 

9  Scene  Among  the  Berkshire  Hills. 

The  Hinman  B.  Hurlbut  Collection. 

FULLER,  George,  A.N.A. 
Born  at  Deerfield,  Mass.,  1822.  Died  in  Boston,  1884. 
Studied  in  Boston,  New  York  and  in  Europe.  Began  as  an 
itinerant  portrait  painter.  Made  an  Associate  of  the  Acad- 
emy of  Design  in  1857,  but  soon  abandoned  his  profession 
for  farming  in  his  native  place,  painting  merely  as  a  so- 
lace. In  1876  he  exhibited  again  in  Boston  with  great 
success. 

10  Fedalma. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

11  Portrait. 

Lent  by  Mrs.  John  R.  Van  Derlip. 

HART,  James  McDougal,  N.A. 
Born   at   Kilmarnock,   Scotland,   in    1828.   Died,    1901. 
Brought  to  America  as   a   child.   Pupil  of  his   brother, 
William  Hart.  Lived  in  New  York. 

12  Landscape. 

The  Hinman  B.  Hurlbut  Collection. 

HART,  William,  N.A. 
Born  at  Paisley,  Scotland,  1823.  Died  at  Mount  Vernon, 
N.  Y.,  1 894.  Came  to  America  in  early  youth. 

13  Autumn. 

The  Hinman  B.  Hurlbut  Collection. 

126 


PAINTERS.    AMERICAN 

HAYS,  William  J. 
Born  in  New  York,  1830.  Died  there  1875. 

14  Deer. 

HOMER,  Winslow,  N.A. 
Born  in  Boston,  1836.  Died  at  Scarboro',  Me.,  19 10.  At 
the  age  of  nineteen  he  became  a  lithographer  in  Boston. 
In  1859  he  entered  the  school  of  the  National  Academy 
of  Design  in  New  York;  became  an  Associate  in  1804, 
and  an  Academician  in  1865.  During  the  Civil  War  he 
was  artist  for  Harpers'.  In  his  later  years  he  hved  and 
painted  chiefly  in  Maine. 

15  Storm  on  the  Maine  Coast. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

16  The  Guides. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

17  The  Flight  of  Wild  Geese. 

Lent  by  Mrs.  Roland  C.  Lincoln. 

HUNT,  William  Morris. 
Born  at  Brattleboro,  Vt.,  1824.  Died  at  Appledore,  N.  H., 
1879.  Studied  first  at  the  Royal  Academy,  London;  later 
at  Diisseldorf  with  the  intention  of  becoming  a  sculptor. 
He  studied  painting  under  Couture  in  Paris,  and  worked 
at  Barbizon  with  the  famous  landscape  painters  of  that 
school.  He  returned  to  the  United  States  in  1855  and  set- 
tled in  Boston. 

18  La  Marguerite. 

Lent  by  Mrs.  Roland  C.  Lincoln. 

ISHAM,  Samuel,  N.A. 
Born  in  New  York,  1855.  Died  at  Easthampton,  L.  I., 
1 9 14.  Studied  in  Europe  for  three  years,  but  on  his  re- 
turn to  the  United  States  practiced  law  for  some  years. 
In  1883  he  returned  to  Paris,  studying  under  Boulanger 
and  Lefebvre.  He  wrote  the  most  complete  history  of 
American  painting  extant. 

19  Old  Sea  Captain. 

Presented  from  the  Estate  of  Samuel  Isham,  N.A.,  in 
accordance  with  his  wishes. 

127 


THE  CLEVELAND  MUSEUM 

INNESS,  George,  N.A. 
Born  at  Newburgh,  N.  Y.,  1825.  Died  at  Bridge-of-AlIan, 
Scotland,  1894.  Began  as  an  engraver  in  New  York  at  the 
age  of  sixteen.  Took  to  landscape  painting  in  1846  and 
went  abroad  in  1850.  In  Paris  he  worked  in  company  with 
Corot,  Rousseau  and  Millet.  He  returned  to  New  York  and 
was  elected  to  the  National  Academy  in  1868. 

20  The  Land  of  Plenty. 

Lent  by  Messrs.  Snedecor  and  Company. 

21  A  Sunny  Autumn  Day. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

22  Early  Recollection. 

Lent  by  Mr.  George  H.  Ainslie. 

23  The  Juniata  River. 

Lent  by  Mr.  George  H.  Ainslie. 

24  Early  Spring. 

Lent  by  Mr.  George  H.  Ainslie. 

25  Autumn  Woodlands. 

Lent  by  Mr.  George  H.  Ainslie. 

26  The  Setting  Sun. 

Lent  by  Mr.  Breckenridge  Long. 

27  September  Noon. 

Lent  by  Mr.  J.  K.  Secor. 

JOHNSON,  Eastman,  N.A. 
Born  at  Lovell,  Maine,  1824.  Died  in  New  York,  1900. 
In  1849  he  went  to  study  at  Diisseldorf,  The  Hague  and 
Paris,  returning  in  1856. 

28  Winding  Yarn. 

29  The  Fisherman. 

The  Hinman  B.  Hurlbut  Collection. 

LA  FAROE,  John,  N.A. 
Born  in  New  York,  1835.  Died  at  Providence,  19 10.  He 
spent  his  youth  at  Newport,  L.  I.,  but  at  the  age  of 
twenty-one  went  to  Paris  and  entered  Couture's  studio. 

30  A  Boy  and  His  Dog. 

Lent  by  the  Messrs.  R.  C.  and  N.  M.  Vose. 

31  Woman  Centaur. 

Lent  by  the  Brooklyn  Museum. 

128 


PAINTERS.    AMERICAN 

MORAN,  Thomas,  N.A. 

Born  at  Bolton,  Lancashire,  1837. 
32     Ft.  George  Island,  Coast  of  Florida. 

The  Hinman  B.  Hurlbut  Collection. 

McENTEE,  Jervis,  N.A. 
Born  at  Rondout,  N.  Y.  1828.  Died  there  in  1891.  Pupil  of 
Frederic  E.  Church. 
23     September  Day. 

The  Hinman  B.  Hurlbut  Collection. 

NEAL,  David. 

Born  at  Lowell,  Mass.,  in  1 837.  Died .  Worked  as  a  wood 

engraver.  Went  to  Munich  in  1861.  Lived  and  painted 
mostly  in  that  city. 

34  Nun  at  Prayer. 

The  Hinman  B.  Hurlbut  Collection. 

RICHARDS,  William  T.,  Hon.  N.A. 
Born  in  Philadelphia,  Pa.,  1833.  Died  at  Newport,  R.  I., 
1905. 

35  June  Day. 

The  Hinman  B.  Hurlbut  Collection. 

36  Sand  Dunes,  Atlantic  City. 

Lent  by  Mr.  Albert  Rosenthal. 

RYDER,  Albert,  N.A. 

Born  at  New  Bedford,  in  1847.  Died .  Practically  self- 
taught,  though  he  studied  for  a  short  time  at  the  Academy 
Schools  in  New  York. 

37  The  Stable. 

Lent  by  Mr.  William  Macbeth. 

TAIT,  Arthur  F.,  N.A. 

Born  near  Liverpool,  England,  18 19.  Died .  Self-taught. 

Went  to  New  York  in  1850. 

38  Deer. 

The  Hinman  B.  Hurlbut  Collection. 

WHISTLER,  James  McNeill. 
Born  at  Lowell,  Mass.,  1834.  Died  in  London,  1903.  En- 
tered West  Point  1850.  Discharged,  1854.  In  1855  he  went 
to  Paris  where  he  studied  in  Gleyre's  studio.  After  four 
years  in  Paris  he  began  to  divide  his  time  between  that 

129 


THE  CLEVELAND  MUSEUM  , 

city  and  London,  where  he  finally  settled  in  1863.  He 
visited  Venice  in  1870-80.  In  1886  he  was  elected  President 
of  the  Royal  Society  of  British  Artists.  In  1892  he  revisited 
Paris,  but  finally  returned  to  London  in  1896. 

39  Study  in  Rose  and  Brown. 

Lent  by  the  Hackley  Gallery  of  Fine  Arts. 

40  The  White  Girl. 

Lent  by  Mr.  Harris  Whittemore. 

41  The  Thames. 

Lent  by  Mr.  Harris  Whittemore. 

42  The  Sea. 

Lent  by  Mr.  Harris  Whittemore. 

43  L'Andalusienne. 

Lent  by  Mr.  Harris  Whittemore. 

WYANT,  Alexander  H.,  N.A. 

Born  at  Port  Washington,  1839.  Died  in  New  York,  1892. 

44  In  the  Still  Forest. 

Lent  by  the  Worcester  Art  Museum. 


130 


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GALLERY  IX— PAINTERS 
AMERICAN.  CONTEMPORARY 


ADAMS,  J.  Ottis. 
I     Evening. 

ADAMS,  Wayman. 

1     Booth  Tarkington. 

Lent  by  Mr.  Tarkington. 

ADAMS,  Winifred. 

3  Spring  Still  Life. 

ALLEN,  Thomas,  A.N.A. 

4  In  the  Eye  of  the  Wind. 

ANDERSON,  Karl,  A.N.A. 

5  The  Captured  Firefly. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

BALLIN,  Hugo,  A.N.A. 

6  The  Cup  of  Life. 

BEAL,  Gifford  R.,  N.A. 

7  Autumn  in  the  City. 

BEAUX,  Ceciha,  N.A. 

8  The  Silver  Box. 

Lent  by  Miss  Francesca  Gilder. 

BECKWITH,  Carroll,  N.A. 

9  The  Villa  Borghese. 

BELLOWS,  George,  N.A. 

10  Dr.  William  Oxley  Thompson. 

BENSON,  Frank  W.,  N.A. 

1 1  Red  and  Gold. 

BITTINGER,  Charles,  A.N.A. 

12  Duxbury  One  Hundred. 

BLAKELOCK,  Ralph  A.,  A.N.A. 

13  Glow,  Evening. 

Lent  by  Messrs.  M.  Knoedler  and  Co. 

BLUMENSCHEIN,  Ernest  L.,  A.N.A. 

14  The  Chief's  Two  Sons. 

131 


THE  CLEVELAND  MUSEUM 

BOHM,  Max. 

15  Golden  Summer. 

BOSTON,  JOSEPH  H.,  A.N.A. 

16  After  the  Storm.  Adirondacks. 

BRECKENRIDGE,  Hugh  H.,  A.N.A. 

17  Old  China. 

BROWNE,  George  Elmer. 

1 8  The  Fallen  Tree. 

BROWNE,  MATILDA. 

19  Loading  the  Salt  Hay. 

BUTLER,  Howard  Russell,  N.A. 

20  Surging  Seas  in  Sunshine. 
CARLSEN,  Emil,  N.A. 

21  Moonlight  on  a  Calm  Sea. 

CARLSON,  John  F.,  A.N.A. 

22  Winter  Afternoon. 

CASSATT,  Mary. 

23  Femme  a  sa  Toilette. 

CHAPMAN,  Carlton  T.,  N.A. 

24  The  Omen. 

CHASE,  William  M.,  N.A. 

25  Out-of-Door  Breakfast. 

CLARKSON,  Ralph,  A.N.A. 

26  Irving  K.  Pond,  Esq. 
COFFIN,  William  A.,  N.A. 

27  Evening  in  the  Valley. 

COMAN,  Charlotte  B.,  A.N.A. 

28  Veiled  in  Mist. 

CORNOYER,  Paul,  A.N.A. 

29  Grand  Canal,  Venice. 

COUSE,  E.  Irving,  N.A. 

30  An  Autumn  Melody. 

COX,  Kenyon,  N.A. 

3 1  Truth. 

COX,  Louise,  A.N.A. 

32  The  Wedding  Guest. 

132 


PAINTERS.    AMERICAN.    CONTEMPORARY 

CRANE,  Bruce,  N.A. 
S2     The  Templed  Hills. 

CURRAN,  Charles  C,  N.A. 

34  On  the  Edge  of  the  Cliff. 

DAINGERFIELD,  Elliott,  N.A. 

35  The  Spirit  of  Moonrise. 

DAVIES,  Arthur  B. 
^6     Every  Saturday. 

Lent  by  the  Brooklyn  Museum. 

DAVIS,  Charles  H.,  N.A. 

37  The  North  West  Wind. 

Lent  by  Mr.  Paul  Schulze. 

DA  VOL,  Joseph  B. 

38  A  Maine  Fjord. 

DE  CAMP,  Joseph. 

39  The  Silver  Waist. 

DEWEY,  Charles  Melville,  N.A. 

40  The  Coppice. 

DOUGHERTY,  Paul,  N.A. 

41  October  Morning. 

DUFNER,  Edward,  A.N.A. 

42  Summer  Joys. 

EMMET,  Lydia  Field,  N.A. 

43  A  Boy. 
FOLINSBEE,  John. 

44  Winter  Quiet. 
FORSYTH,  W. 

45  Farm  in  Winter. 
FOSTER,  Ben,  N.A. 

46  October  in  the  Litchfield  Hills. 
FRIESEKE,  F.  C,  N.A. 

47  The  Open  Window. 
GARBER,  Daniel,  N.A. 

48  Down  the  River — May. 
GAY,  Walter. 

49  The  Philosopher. 

The  H.  B.  Hurlbut  Collection. 

^33 


THE  CLEVELAND  MUSEUM 

GENTH,  Lillian  M.,  A.N.A. 

50  The  Whirling  Waters. 

GILCHRIST,  W.  W. 

51  Girl  in  Pink. 

GOTTWALD,  Frederick  C. 

52  The  Umbrian  Valley,  Italy. 

Gift  of  Mrs.  John  Huntington. 

GRIFFIN,  Walter,  A.N.A. 
^;^     Nature's  Appeal. 

GROLL,  Albert  L.,  N. A. 

54  The  Painted  Desert.  Arizona. 

HARRISON,  Birge,  N.A. 

55  Moonlight  on  the  St.  Lawrence. 

HASSAM,  Childe,  N.A. 

56  Young  Woman  Reading  a  Letter. 

HAWTHORNE,  Charles  W.,  N.A. 

57  The  Sisters. 

HENRI,  Robert,  N.A. 

58  Herself. 

IRVINE,  Wilson. 

59  Summer  in  Connecticut. 

JOHANSEN,  John  C,  N.A. 

60  Mrs.  G.  A.  McLane. 

JONES,  Francis  C,  N.A. 

61  The  End  of  the  Story. 

KELLER,  Henry  G. 

62  In  the  Sand-pit. 

Gift  of  the  Cleveland  Art  Association. 

JONES,  H.  Bolton,  N.A. 

63  Late  Afternoon. 

KENDALL,  Sergeant,  N.A. 

64  A  Statuette. 

KRONBERG,  Louis. 

65  Preparing  for  the  Dance. 

134 


PAINTERS.    AMERICAN.    CONTEMPORARY 

LATHROP,  W.  L.,  N.A. 

66  Evening  Near  the  Shore. 

LAWSON,  Ernest,  A.N.A. 

67  Winter. 

LEVER,  Hayley. 

68  Dawn. 

LEWIS,  Josephine  M. 

69  A  Rainy  Day. 

LIE,  Jonas,  A.N.A. 

70  Cranes  at  Miraflores. 

LITTLE,  Philip. 

71  First  of  the  Goldenrod. 

McLANE,  M.  Jean. 

72  The  Secor  Children. 

Lent  by  Mr.  J.  K.  Secor. 

MELCHjERS,  Gari,  N.A. 

73  Maternity. 

METCALF,  Willard. 

74  September  Morning. 
MORA,  F.  Luis,  N.A. 

75  Jeanne  Cartier. 
MURPHY,  H.  Dudley. 

76  Morro  Castle;  San  Juan. 
MYERS,  Jerome. 

77  Childhood. 

NISBET,  Robert  H.,  N.A. 

78  Abandoned  Farm. 
NORDELL,  Carl  J. 

79  A  Touch  of  Turquoise. 
OCHTMAN,  Leonard,  N.A. 

80  The  Moonlit  Cascade. 
PALMER,  Walter  L.,  N.A. 

8 1  The  Archway. 
PARSHALL,  DeWitt,  A.N.A. 

82  No  Man's  Land. 
POORE,  Henry  R.,  A.N.A. 

83  Pilgrim  Sons. 

^35 


THE  CLEVELAND  MUSEUM 

POTTHAST,  Edward  H.,  N.A. 

84  The  Bathing  Hour. 

RITSCHEL,  William,  N.A. 

85  The  Lonely  Cypress.  Monterey,  California. 

ROBINSpN,  William  S.,  N.A. 

86  Mountain  Laurel. 

ROSEN,  Charles,  A.N.A. 

87  Winter  Sunlight. 

ROSENTHAL,  Albert. 

88  Mrs.  Rosenthal.  A  Portrait. 

RUNGIUS,  Carl,  A.N.A. 

89  Down  the  Brezeau. 

RYDER,  Chauncey  F.,  A.N.A. 

90  The  Little  Stand  of  Pines. 

SARTAIN,  William,  A.N.A. 

91  Jersey  Sand  Dunes. 

SMEDLEY,  William  T.,  N.A. 

92  Miss  Catherine  Breckenridge  Roach. 

SNELL,  Henry  B.,  N.A. 

93  The  Outer  Harbor,  Polperro. 

STARK,  Otto. 

94  Sunrise. 

STEELE,  T.  C,  A.N.A. 

95  The  Strength  of  the  Hills. 

STORY,  George  H.,  A.N.A. 

96  Abraham  Lincoln. 

SYMONS,  Gardner,  N.A. 

97  In  the  Shadow  of  the  Bridge. 

THAYER,  Abbott  H.,  N.A. 

98  Winged  Figure. 

Lent  by  Mr.  Charles  L.  Freer. 

TOMPKINS,  F.  H. 

99  Portrait  of  Himself. 

136 


PAINTERS.   AMERICAN.  CONTEMPORARY 

TRYON,  Dwight  W. 
ICO    Autumn  Evening. 

Lent  by  Mr.  H.  H.  Stambaugh. 

TURNER,  Helen  M.,  A.N.A. 
loi     Golden  Hours. 

VAILLANT,  Louis  D. 

102  The  Bathers. 
VOLK,  Douglas,  N.A. 

103  Sylvanesque. 
VONNOH,  Robert  W.,  N.A. 

104  Afternoon  Glow,  Ferme,  France. 
WALKER,  Horatio,  N.A. 

105  Lime  Burners  at  Night. 
WATROUS,  Harry  W.,  N.A. 

106  Who  Cares. 

WARNER,  Everett  L.,  A.N.A. 

107  The  Wayside  Cottage. 
WAUGH,  Frederick  J.,  N.A. 

108  South  Atlantic. 
WENDT,  William,  A.N.A. 

109  Tahoma  the  Silent. 

WEIR,  J.  Alden,  N.A. 
no    The  Plaza:  Nocturn. 

WHEELER,  Clifton  A. 

111  Spring  Song. 
WIGGINS,  Carleton,  N.A. 

112  On  the  Holland  Dunes. 
WILLIAMS,  Frederic  Ballard,  N.A. 

1 13  The  Clearing. 
WILES,  Irving  R.,  N.A. 

114  Divided  Attention. 
WOODBURY,  Charles  H.,  N.A. 

115  The  Wave. 
WUERPEL,  E.  H. 

116  Afterglow. 

YOUNG,  Charles  Morris,  A.N.A. 

1 17  The  White  Meadow. 

137 


GALLERY  X— THE  FREER  COLLECTION 
LENT  BY  THE  SMITHSONIAN  INSTITUTION 


FROM  the  stored  up  treasures  of  Eastern  Art,  which,  with  un- 
failing knowledge,  taste  and  patience,  Mr.  Charles  L.  Freer, 
of  Detroit,  has  been  for  many  years  accumulating  for  the 
benefit  of  the  American  people  and  students  throughout  the  world, 
he  has  selected  the  contents  of  Gallery  Ten,  and  lent  them  to  the 
Inaugural  Exhibition  of  The  Cleveland  Museum  of  Art.  How  great 
is  our  debt  to  him  may  be  easily  comprehended,  when  it  is  said 
that  from  no  other  collection  on  this  continent,  still  less  in  Europe, 
could  such  a  selection  have  been  made. 

Three  pieces  of  Egyptian  sculpture  worthily  represent  the  art 
of  that  ancient  civilization.  The  two  basalt  Hawks  of  Ra,  the  sun 
god,  exhibit  the  stern  and  splendid  conventionalization  which  char- 
acterizes all  of  the  art  of  ancient  Egypt.  Almost  equally  ancient, 
and  showing  something  of  the  same  severe  reserve,  is  a  Chinese 
bronze  sacrificial  vessel  of  the  Shang  Dynasty,  B.C.  1766-1123, 
and  two  others  of  the  succeeding  Chou,  B.C.  1122-256. 

Sculpture  of  these  early  Chinese  periods  is  so  far  unknown  to 
us,  but  of  the  most  flourishing  period  of  this  art,  theT'ang,  618-906 
A.D.,  Mr.  Freer  has  lent  some  superb  examples.  A  head  of  a  Bodhi- 
sattva,  probably  Kwanyin;  and  an  inestimable  rarity,  a  seated  fig- 
ure of  a  Bodhisattva  in  dried  lacquer.  This  curious  process,  known 
to  the  Japanese  as  KanshitsUy  is  familiar  to  students  as  having 
been  introduced  into  Japan  in  the  Tempyo  Period  710-794  A.D. 
from  China.  Nevertheless,  Chinese  examples  of  what  we  may  call 
the  parent  art  are  of  extreme  rarity  and  this  is  probably  the  only 
specimen  that  has  left  the  Far  East,  if  not  the  only  one  extant.  It 
exhibits  in  a  marked  degree  the  influence  exerted,  from  the  latter 
part  of  the  Fourth  century,  upon  Chinese  Art,  of  the  Buddhist 
art  of  India.  This  is  also  to  be  detected  in  a  wonderful  stone  statue 
of  a  lion-headed  demon  which  Mr.  Freer  ascribes  to  a  slightly 
earlier  period,  the  Northern  Wei,  386-587  A.D.  A  seated  marble 
statue  of  a  Bodhisattva  with  a  beautiful  and  characteristic  halo, 
of  the  T'ang  Dynasty,  again  gives  evidence  of  the  familiarity  of 
Chinese  artists  of  that  time  with  the  Gupta  school  of  Indian 
sculpture. 

139 


THE  CLEVELAND  MUSEUM 

Mr.  Freer  has  lent  us  also  one  of  the  rare  paintings  of  this  early- 
time.  The  ideal  portrait  of  an  Emperor  of  the  long-preceding  Han 
Dynasty,  by  an  artist  of  the  School  of  Wu-Tao-tzu,  who  flourished 
about  720-750  A.D.,  assures  us  that  the  painters  of  that  splendid 
period  were  well  abreast  of  the  sculptors. 

From  Japan  he  has  permitted  us  to  enjoy  another  rare  work 
of  art.  It  is  doubtful  whether,  away  from  the  temple  of  Horuji  at 
Nara,  there  exists  so  remarkable  an  example  of  Suiko  sculpture  as 
the  wooden  statue  of  a  Bodhisattva  we  are  privileged  to  include  in 
our  exhibition.  A  seated  figure  of  Tempyo  times  710-795  A.D.  com- 
pletes the  roll  of  treasures  in  this  art. 

Two  pairs  of  screens,  the  most  typically  Japanese  method  of 
employing  the  art  of  painting,  fill  out  the  sum  of  Mr.  Freer's  bene- 
faction. One  pair,  sixfold,  representing  the  Tosa  school,  the  most 
purely  Japanese  of  any,  dates  from  the  Ashikaga  Period.  The  land- 
scape is  that  of  the  famous  Yoshino  valley  in  Yamato  province, 
where  even  today  the  Japanese  throng,  as  did  their  ancestors,  to 
enjoy  the  beauty  of  the  cherry  blossoms,  relieved  against  the  rich 
velvety  greens  of  the  conifers  which  cling  to  the  sides  of  that  beau- 
tiful valley.  These  screens  are  in  full  color  on  a  gold  ground. 

The  other  pair,  fourfold,  in  ink,  show  us  the  influence  which 
coming  from  China  with  the  artist  who  painted  them,  temporarily 
swept  the  Tosa  school  out  of  public  favor  and  founded  the  great 
Ashikaga  art  of  Kano.  Soga  Shubun,  who  flourished  from  about 
1375  to  1410,  was  of  Chinese  birth,  an  exponent  through  his  art 
of  the  doctrine  of  Zen,  nature  mysticism,  which  had  for  two  cen- 
turies preceding  turned  the  minds  of  his  countrymen  to  the  con- 
templation, and  the  Sung  painters  to  the  representation,  of  the 
beauties  of  nature.  He  became  a  naturalized  Japanese  and  played  an 
important  part  in  the  establishment  of  the  Kano  school.  This  pair 
of  screens  is  justly  "regarded  by  its  owner  as  the  supreme  landscape 
masterpiece  of  the  Ashikaga  schools."  Fenollosa  II,  75. 


140 


THE  FREER  COLLECTION 

1  PAINTING. 

In  full  color  on  silk.  The  Emperor  Chao-Lieh  of  the  Shu 
Han  Dynasty. 

Chinese.  T'ang  Dynasty. 

2  HEAD  OF  KWANYIN. 

Black  schistose  rock. 

Chinese.  T'ang  Dynasty. 

3  WINE  HOLDER  (YU). 

Bronze. 

Chinese.  Shang  Dynasty. 

4  WINE  HOLDER  (YU). 

Bronze. 

Chinese.  Chou  Dynasty. 

5  VASE. 

Chinese.  Chou  Dynasty. 

6  PAIR  OF  FOUR-FpLD  SCREENS. 

and   In  ink.  Landscape  in  snow. 

14        Japanese.  By  Soga  Shubun.  fl.  1375-1410  A.D.  Ashi- 
kaga  Period. 

7  BODHISATTVA  SEATED. 

Dried  lacquer  {kanshitsu). 
Chinese.  T'ang  Dynasty. 

8  BODHISATTVA  STANDING  ON  A  LOTUS. 

Wood.  Carved,  lacquered  and  gilt. 
Japanese.  Suiko  Period. 

9  BODHISATTVA  SEATED 

Wood.  Carved,  lacquered  and  gilt. 
Japanese.     Tempyo  Period. 

10  PAIR  OF  SIX-FOLD  SCREENS. 

and   In  color  on  gold.  Landscape:  Yoshino  Valley  in  Cherry- 

11  blossom  time. 

Japanese.  Tosa  school.  Late  Ashikaga  Period. 

12  KWANYIN  SEATED. 

Marble. 

Chinese.  T'ang  Dynasty. 

141 


THE  CLEVELAND  MUSEUM 

ij  DEMON  OR  GUARDIAN. 

Black  schistose  rock.     Human  body  and  lion's  head. 
Chinese.  From  Honan.  Wei  Dynasty. 

14  FOUR-FOLD  SCREEN. 

See  No.  6. 

15  BUST. 

Marble.  Fragment  of  a  statue.  Said  to  be  the  portrait  of  a 
princess. 
Egyptian. 

16  HAWKS. 

and   Black  basalt.  Sacred  to  Ra,  the  god  of  the  sun.     These 

17  have  lost  the  crowns  of  Upper  and  Lower  Egypt  which  at 
one  time  they  must  have  worn. 

Egyptian. 

18  PAINTING. 

In  ink  on  silk.  Mountainous  landscape.     By  Ching-Hao. 
Chinese.     The  Five  Dynasties. 


142 


GALLERY  XI— THE  W.  S.  and  J.  T.  SPAULDING 
COLLECTION  OF  SURIMONO 


THESE  were  a  class  of  prints  made  for  special  occasions, 
somewhat  as  our  Christmas  cards  are.  The  greatest  of  the 
Ukiyoye  artists  were  employed  to  make  those  which  were 
used  by  the  noble  and  wealthy  to  commemorate  festive  occasions, 
when  they  were  presented  to  the  guests  as  souvenirs.  Such  suri- 
mono  were  never  reprinted,  and  to  keep  them  select  no  more  im- 
pressions were  made  of  them  than  were  absolutely  needed.  This 
would  account  for  the  extreme  scarcity  of  such  a  series  as  these 
twelve  of  Hiroshige,  which  are  the  rarest  and  most  highly  prized  of 
all  his  works.  A  few  single  examples  are  to  be  found  in  collections 
here  and  there,  but  Mr.  Spaulding's  is  the  only  complete  series 
known  to  exist. 

Hiroshige  Utagawa,  of  the  Ando  family,  was  born  in  1797. 
He  became  a  pupil  of  Toyohiro,  from  whose  name,  as  was  custom- 
ary when  a  pupil  had  proved  himself  worthy,  he  was  allowed  to  take 
a  syllable  in  composing  his  own  professional  name,  Hiroshige. 

When  he  was  about  twenty-six  years  old  he  was  sent  by  the 
Yedo  government  to  Kyoto  in  the  suite  of  an  envoy  to  the  Em- 
peror to  make  a  painting  of  the  ceremony  of  his  presentation,  and 
as  a  result  of  the  journey  published  his  famous  Fifty- three  Scenes 
on  theTokaido,  the  great  highway  which  connects  Yedo  and  Kyoto. 

This  constituted  a  new  departure  in  Ukiyoye  (although  pos- 
sibly Hokusai  had  begun  landscape  work  before  this),  and  rapidly 
became  very  popular,  the  Tokaido  being  reprinted  times  without 
number. 

He  traveled  much  in  search  of  subjects,  and  his  scenes  along 
the  Kisokaido,  Hundred  Views  in  Yedo,  Views  of  Mount  Fuji,  and 
many  other  prints  testify  to  his  industry  and  genius.  He  died  in 
1858. 

The  other  fourteen  surimono  which  through  Mr.  Spaulding's 
kindness  we  are  enabled  to  include  in  our  Inaugural  Exhibition 
are  by 

Hokusai,  born  1760.  Died  1840.         Seiko,  flourished  1795. 

Shunman,  flourished  1780-1800.         Shinsai,  flourished  18 10. 

Hokkei,  born  1780.  Died  1858.  Gakutei,  flourished  1820. 

143 


THE  CLEVELAND  MUSEUM 

1  The  Poetess  Ono-no-Komachi.  Hokusai.  Signed,  Taito,  a 

name  used  by  the  artist  between  1810  and  1820. 

2  The  Mouth  of  the  Naka  river.  Hiroshige. 

3  Poet  on  the  Seashore.  Hokkei. 

4  The  Village  of  Matsudo.  Hiroshige. 

5  Poet.  Hokkei. 

6  A  Snowy  Morning  at  Susaki.  Hiroshige. 

7  Poet.  Hokkei. 

8  Azuma  Grove.  Hiroshige. 

9  No  Dancer.  Hokkei. 

10  Takata  Racetrack  and  Archery  range.  Hiroshige. 

1 1  Cherry-blossoms  and  Pine  cones.  Shunman. 

12  The  Sea  Beach  at  Gyotoku.  Hiroshige. 

13  Yuhi  Hill.  Hiroshige. 

14  Peonies  and  Iris.  Shunman. 

15  Gotenyama.  Hiroshige. 

16  Bugaku  Dancer.  Hokkei. 

17  Koganei.  Hiroshige. 

1 8  Tortoises  and  Teabowl.  Gakutei. 

19  The  Garden  at  Oji.  Hiroshige. 

20  Quail  in  a  cage  and  Narcissus  flowers.  Shinsai. 

21  Maple  Trees  at  Kaianji.  Hiroshige. 

22  Broom,  Fish's  head  and  Holly  sprig.  Shunman. 

23  The  Village  of  Tamagawa.  Hiroshige. 

24  Fish  and  Plum-blossoms.  Gakutei  Harunobu. 

25  Geisha  in  Spring.  Double  print.  Hokkei. 

26  The  Emperor  Genso  and  the  Fairy  Queen.  Double  print. 

Seiko. 

27  STATUE  OF  AMIDA:  THE  BUDDHA. 

On  a  lotus  pedestal.  Wood,  lacquered  and  gilt. 
Late  Tokugawa  Period. 
Gift  of  Mr.  D.  J.  R.  Ushikubo. 

144 


THE  W.  S.  AND  J.  T.  SPAULDING  COLLECTION 

28  HEAD  DRESS  FOR  THE  NO  DANCE. 

Blue  brocade. 
The  Worcester  R.  Warner  Collection. 

29  TEMPLE  ORNAMENT  (KENMAN) 

Tokugawa  Period. 

Lent  by  Mr.  T.  Kuroda. 

30  TEMPLE  ORNAMENT  (KENMAN) 

Tokugawa  Period. 

Lent  by  Mr.  T.  Kuroda. 

31  SCREEN  (RAMMA) 

Fragment.  Wood.  Carved. 
Kamakura  Period. 
Lent  by  Mr.  J.  Templeman  Coolidge. 


145 


GALLERY  XII— THE  ART  OF  THE 
NEARER  EAST 


NEAR  EASTERN  ART  is  a  cumbrous  term  and  it  would 
be  well  if  we  replaced  it  by  "Saracenic,"  meaning  Eastern, 
which  was  the  name  applied  by  the  Crusaders  to  the  peo- 
ples, irrespective  of  their  race,  by  whom  they  found  themselves  op- 
posed in  the  Holy  Land.  For  we  mean  by  the  phrase  an  art  which, 
originating  in  the  East,  whether  it  be  Indian  or  Persian,  Syrian, 
Egyptian  or  Turkish,  or  even  certain  phases  of  Spanish,  Portu- 
guese and  southern  Italian,  is  unmistakable  and  distinct  from  other 
types  of  design  wherever  it  appears. 

Its  origins  are  as  mixed  as  the  races  which  produced  it,  but  in 
its  most  typical  manifestations  it  would  seem  to  have  originated 
in  Egypt  about  the  time  of  the  Mahomedan  conquest  and  almost 
simultaneously  in  Eastern  Syria  and  north  Persia,  both  of  which 
were  famous  centers  of  pottery  making  from  the  Ninth  century 
onward.  Pottery  is  the  form  in  which  we  first  encounter  the  art  of 
this  new  school.  Besides  pottery,  the  Saracens  accomplished  metal 
work  of  extreme  delicacy,  they  were  skilled  in  glass  making  and 
enameling;  miniature  painting  was  also  one  of  their  great  arts,  but 
above  all  they  excelled  in  weaving. 

From  the  Fifteenth  century  the  style  deeply  affected  the  nas- 
cent art  of  the  Renaissance,  particularly  in  the  matter  of  the  design 
of  textiles,  which  are  often  hard  to  distinguish  from  the  oriental 
originals. 

The  precepts  of  the  Koran  forbade  the  representation  of  the 
human  figure,  and  in  the  stricter  interpretation,  of  any  hving  crea- 
ture. The  limitation  so  imposed  produced  a  rich  variety  of  geomet- 
ric and  floral  motives  which  have  received  the  name  of  Arabesque. 
As  another  consequence  of  this  prohibition,  the  Mahcmedans  de- 
voted greater  attention  to  color,  in  which  they  excelled.  As  a  result 
of  schisms  in  the  Mahomedan  faith,  at  least  one  sect,  if  not  more, 
chose  to  disregard  these  doctrines,  with  the  fortunate  result  that 
the  Persians,  the  most  gifted  artistically  of  all  these  peoples,  in- 
troduced human  and  animal  life  into  their  designs  in  the  happiest 
manner. 

H7 


THE  CLEVELAND  MUSEUM 

Persian  art  may  be  regarded  as  perhaps  the  highest  manifes- 
tation of  Decorative  Art  the  world  has  ever  seen;  instead  of  spend- 
ing their  energies  in  painting  pictures  and  carving  statues,  most  of 
which  work  is  of  doubtful  value  at  best,  they  devoted  themselves 
to  making  every  object  they  used  also  an  object  of  the  greatest 
beauty,  surely  the  loftiest  ideal  any  artist  can  set  before  himself. 

1  CARPET. 

Silk.  One  of  the  famous  set  from  the  Mosque  of  Ardebil. 
From  the  Yerkes  Collection. 

Persian.  XVI  Century. 

Lent  by  the  Messrs.  Duveen. 

2  EWER. 

Brass.  Twelve-sided,  hammered  and  engraved.  Lions  in 
relief  on  the  neck  and  spout.  Decoration,  engraved  and  in- 
laid with  silver,  consists  of  panels  filled  with  animals  and 
a  band  of  Cufic  (above)  and  Naskhy  (below)  inscriptions. 

Persian.  Hamadan.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

3  PAIR  OF  DOORS. 

Wood,  carved.  Decorated  with  a  pair  of  niches  orna- 
mented with  arabesques  and  scrolls.  From  a  shrine  at 
Kirman. 

Persian.  XIII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

4  BOWL. 

Pottery.  Turquoise.  Fluted  outside. 
Sultanabad.  XIII  Century. 
Lent  by  Mr.  H.  Kevorkian. 

5  PITCHER. 

Pottery.  Lapis-lazuli,  floral  scrolls  in  lustre  overglaze. 
Rhages.  XII  Century. 
Lent  by  Mr.  H.  Kevorkian. 

6  VASE. 

Pottery.  Melon-shaped  body,  cylindrical  neck,  flaring  lip. 
Lapis-lazuli. 

Rhages.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

148 


THE  ART  OF  THE  NEARER  EAST 

7  PITCHER. 

Pottery.  Melon-shaped.  Sapphire  blue,  floral    scrolls  in 
lustre  overglaze. 

Rhages.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

8  BOWL. 

Pottery.  Turquoise  blue.  Band  of  inscription  relief  round 
outside. 

Rhages  or  Sultanabad.  XIII  Century. 

The  John  Huntington  Collection. 

9  PITCHER. 

Pottery.  Lustred,  ivory  ground,  with  cartouches  containing 
birds  and  floral  scrolls.  Inside  sapphire  blue. 

Lustre  ware  is  assumed  to  be  of  Egyptian  origin;  that  is 
to  say,  the  earliest  examples  known  have  been  found  at 
Fostat  (Old  Cairo)  founded  by  the  Mahomedan  con- 
querors in  641  A.D.  It  is  supposed  that  the  art  was  carried 
thence  to  Persia.  Several  of  these  pieces  are  ascribed  to 
the  XI  Century. 

Rhages.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

10  CUP. 

Pottery.  Ivory-white  glaze  decorated  with  figures  in  panels 
in  many-colored  enamels. 

Rhages.  XII  to  XIII  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

11  STAR  TILE. 

Pottery.  Lustred;  blue,  green  and  gold.  Two  figures.  Border 
of  inscriptions. 

Persian.  XIV  Century. 

The  John  Huntington  Collection. 

12  BOWL. 

Pottery.  Slightly  fluted  outside.  Celadon  glaze. 
Persian.  XIV  Century. 
The  John  Huntington  Collection. 

149 


THE  CLEVELAND  MUSEUM 

13  PITCHER. 

Pottery.  Very  thin  and  light  in  weight.  Unglazed,  or  else 
the  glaze  has  perished  through  long  burial. 

Excavated  at  Rhages.  XI  or  XII  Century. 

The  Worcester  R.  Warner  Collection. 

14  PITCHER. 

Pottery.  Very  thin  and  light  in  weight.  Unglazed,  or  else 
the  glaze  has  perished  through  long  burial. 

Excavated  at  Rhages.  XI  or  XII  Century. 

The  Worcester  R.  Warner  Collection. 

15  PITCHER. 

Pottery.  Very  thin  and  light  in  weight.  Unglazed,  or  else 
the  glaze  has  perished  through  long  burial. 

Excavated  at  Rhages.  XI  or  XII  Century. 

The  Worcester  R.  Warner  Collection. 

16  BOWL. 

Pottery.  Turquoise  blue.  Arabesques  and  Cufic  inscrip- 
tions in  red  enamel  and  gold  overglaze. 

Rhages.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

17  VASE. 

Pottery.  Gourd-shaped  with  slender  neck.  Lapis-lazuli. 
Geometric  and  floral  patterns  in  red  and  white  enamel 
and  gold  over  the  glaze. 

Rhages.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

18  BOWL. 

Pottery.  Ivory  ground.  Rabbit  in  centre,  surrounded  by 
radiating  compartments,  filled  with  floral  decorations. 

Sultanabad.  XIII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

19  BOWL. 

Pottery.  Design  of  flowers  and  birds  in  relief;  background 
of  grey-black,  outside  band  of  blue,  under  the  glaze. 

Sultanabad.  XIII  Century. 

The  John  Huntington  Collection. 

150 


THE  ART  OF  THE  NEARER  EAST 

20  PLATE. 

Pottery.  Ivory  ground,  bird  in    the  centre,    borders  in 
blue  and  black;  all  under  glaze. 

Sultanabad.  XIII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

21  PLATE. 

Pottery.  Characteristic  floral  decoration  in  red,  green  and 
blue;  traces  of  subsequent  gilding. 

Rhodian.  XVII  Century. 

The  John  Huntington  Collection. 

22  MELON-SHAPED  BOWL. 

Pottery.  Deep  blue  glaze,  highly  iridescent. 
Rakka.  XIII  Century. 
The  John  Huntington  Collection. 

23  PLATE. 

Pottery.    Decorated  with   a  woman's  head,  a  bird  and 
flowers  in  colors  under  and  over  glaze. 

Koubatcha.  XV  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

24  BOWL. 

Pottery.  Decorated  in  black  and  dark  blue;  all  under  tur- 
quoise glaze. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

25  BOWL. 

Pottery.  Lustre  ware.  Decorated  with  concentric  bands  of 
ornament  and  inscriptions. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

26  STAR  TILE. 

Pottery.  Lustred.  Two  storks  afFrontes. 
Veramin.  XII  Century. 
Lent  by  Mr.  H.  Kevorkian. 

27  PLATE. 

Pottery.  Lustre  ware.  Blue  and  gold.  Two  figures  in  the 
centre;  concentric  bands  of  ornaments  and  inscription. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

151 


THE  CLEVELAND  MUSEUM 

28  TILE. 

Pottery.  Turquoise  blue.  Fragment  of  an  inscription  in 
relief. 

Sultanabad.  XIII  Century. 

The  John  Huntington  Collection. 

29  BOTTLE. 

Pottery.  Pale  gold  lustre.  Decorated  with  figures  and 
scroll  patterns.  Inscription  round  base. 

Rhages.  XVII  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

30  "HUNTING  CARPET" 

So-called  from  its  subject.  Silk.  From  the  Hampden-Robb 
Collection. 

Persian.  XVI  Century. 

Lent  by  the  Messrs.  Duveen. 

31  PAIR  OF  DOORS. 

Wood,  covered  with  gesso  and  gilt. 

Saracenic;  perhaps  Hispano-Moresque.  XIII  or  XIV 

Century. 

The  John  Huntington  Collection. 

32  HANGING. 

Silk.  Apricot  ground;  within  an  ornamental  border  are 
two  pavilions  in  each  of  which  hangs  a  mosque  lamp. 

Turkish. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

33  DISH. 

Pottery.  Gold  lustre.  Decorated  with  figures  in  center 
surrounded  by  conventional  scrolls  with  birds.  Double 
border  of  inscriptions. 

Rhages. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

34  JAR  WITH  FOUR  HANDLES. 

Pottery.  Deep  turquoise  glaze,  highly  iridescent. 
Sultanabad.  XIII  Century. 
The  John  Huntington  Collection. 

35  LINEN  GAUZE  SCARF. 

Embroidered  with  colored  silks  and  gold. 
Rhodian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

152 


THE  ART  OF  THE  NEARER  EAST 

36  CARPET. 

Ispahan.  XVI  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

37  BOX. 

Pottery.  Relief  decorations  suggest  metal  corners  and  re- 
enforcement.  Cover  missing.  Turquoise  glaze. 

Rakka.  XIII  Century. 

The  John  Huntington  Collection. 

38  LINEN  GAUZE  SCARF. 

Embroidered  with  colored  silks  and  gold. 
Rhodian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

39  DISH. 

Pottery.  Bold  decoration  in  aubergine  and  blue  on  a  pale 
turquoise  ground. 

Bokhara.  XVII  Century. 

The  John  Huntington  Collection. 

40  TILE. 

Pottery.  Fragment  of  an  inscription,  with  an  ornamental 
background  in  red,  yellow  and  green  on  a  blue  ground. 

The  XVI  Century  was  the  golden  age  of  Persian  art. 

Persian.  XVI  Century. 

The  John  Huntington  Collection. 

41  DISH. 

Pottery.  Sketchy  decoration  of  floral  scrolls  in  dark  green, 
under  turquoise  glaze. 

The  potteries  of  Koubatcha  in  Daghestan  were  in  all 
probability  founded  by  Persian  refugee  workmen. 

Koubatcha.  XVI  Century. 

The  John  Huntington  Collection. 

42  BOWL.  . 

Pottery.  Turquoise.  Decorated  in  blue  under  a  bright 
turquoise  glaze. 

Koubatcha.  XVI  Century;  ;     V 

Lent  by  Mr.  Dikran  G.  Kelekian. 

^53 


THE  CLEVELAND  MUSEUM 

43  JAR. 

Pottery.  A  frieze  of  animals  in  relief  round  shoulder.  Grey- 
green  vitreous  glaze,  stopping  at  one-third  of  height  from 
bottom. 

Sultanabad.  XIII  Century. 

The  John  Huntington  Collection. 

44  PITCHER. 

Pottery.  Decorated  with  an  ogival  design  in  blue  and 
yellow  on  a  cream-colored  ground.    Inside  blue. 

Persian. 

The  John  Huntington  Collection. 

45  BOWL. 

Pottery.  Grey,  decorated  with  blue  and  black  under  a 
transparent  glaze  now  almost  concealed  by  brilliant  iri- 
descence. 

Sultanabad.  XII  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

46  JAR. 

Pottery.  Dark  green  decoration,  with  reserves  under 
turquoise  blue  glaze,  now  almost  totally  obscured  by  iri- 
descence. 

Rakka.  XII  Century. 

The  John  Huntington  Collection. 

47  JAR. 

Pottery.  Grey  glaze.  Decorated  with  relief.  Inscription  in 
white  on  blue  ground. 

Sultanabad.  XII  Century. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

48  BOTTLE. 

Pottery.  Lustre  ware.  Decorated  in  relief  and  color.  Much 
repaired. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

154 


THE  ART  OF  THE  NEARER  EAST 

49  BOWL. 

Pottery.  Cream-color.  Deep  blue  lip  and  spot  in  centre. 
Border  of  pierced  ornament,  which  is  filled  by  the  trans- 
parent glaze. 

This  technique  may  have  suggested  the  famous  Chinese 
grain-de-riz  porcelain  of  later  times. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

50  TILE. 

Pottery.  Lustre  ware.  Gold  and  blue.  Man  and  antelope 
in  relief. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

51  STAR  TILE. 

Pottery.  Flower  sprays  in  relief,  white  on  blue  ground. 
Sultanabad.  XIII  Century. 
The  John  Huntington  Collection. 

52  BOWL. 

Pottery.  Turquoise,  decorated  with  Cufic  inscription  and 
radiating  lines  in  black  under  turquoise  glaze. 

Sultanabad.  XIII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

53  EWER. 

Pottery.  Covered  with  diamond-shaped  bosses  arranged 
vertically.  Decorated  in  colored  enamels  and  gold  on  a 
lustreless  turquoise  glaze. 

Excavated  at  Rhages.  XI  Century. 

Lent  by  Mr.  H.  Kevorkian. 

54  PLATE. 

Pottery.  Ivory  ground,  centre  medallion  and  border  of 
Cufic  inscription  in  blue  and  black  under  glaze. 

Rhages.  XII  Century. 

Lent  by  Mr.  H.  Kevorkian. 

15s 


THE  CLEVELAND  MUSEUM 

55  DISH. 

Pottery.  Fragmentary.  Grey-white  with  blue,  green  and 
yellow  rosette  in  centre  and  splashes  of  green  glaze  round 
edge. 

Excavated  at  Rhages.  IX  Century. 

The  Worcester  R.  Warner  Collection. 

56  BOWK 

Pottery*  Yellow  and  green  glaze.  Decorated  with  a  rudely 
incised  scroll  and  an  anthemion  inside. 

Excavated  at  Rhages.  IX  Century. 

The  Worcester  R.  Warner  Collection. 

Exhibited  in  Gallery  XIII  Chinese  Art,  No.  11. 

These  two  pieces  are  remarkable  and  unique  in  America. 
Their  extraordinary  similarity  to  the  T'ang  pottery  of 
China  would  suggest  that  the  one  had  influenced  the  other. 
That  this  was  the  case  is  rendered  probable  by  the  dis- 
covery at  Samara,  not  far  from  Rhages,  of  undoubted 
pieces  of  T'ang  pottery  which  had  been  used  as  examples 
for  imitation  by  the  local  potters  of  the  IX  Century,  at 
which  time  the  town  is  known  to  have  been  destroyed. 

57  BOTTLE. 

Pottery.  Broken.  Lapis-lazuli  glaze. 
Rhages.  XIII  Century. 
The  John  Huntington  Collection. 

58  BOWL. 

Pottery.  Ornament,  lotus-like  petals  in  reserve  on  a  black 
ground,  under  a  turquoise  blue  glaze,  which  colors  the 
reserved  lines. 

Rhages.  XIII  Century. 

The  John  Huntington  Collection. 

59  STAR  TILE. 

Pottery.  Lustred;  blue  and  gold.   Border  of  inscriptions. 
Persian.  XIV  Century. 
The  John  Huntington  Collection. 

60  OIL  CUP  FROM  A  MOSQUE  LAMP. 

Glass,  enameled  in  colors  with  seated  figure,  vines,  etc. 
A  wide  band  of  inscription  round  rim. 

Egypt.  Arab  work. 

Lent  by  Mr.  Dikran  G.  Kelekian.  . 

156 


THE  ART  OF  THE  NEARER  EAST 

6 1  FOUR  TILES. 

Pottery.  Decorated  with  a  pattern  of  lobed  circles,  enclos- 
ing and  surrounded  by  floral  patterns  in  blue,  purple  and 
green. 

Damascus.  XVII  Century. 

The  John  Huntington  Collection. 

62  TWO  TILES. 

Pottery.  Figures  of  two  men  in  red,  blue,  green  and  auber- 
gine on  a  yellow  ground. 

Persian.  Time  of  Shah  Abbas.  1555 — 1628  A.D. 

The  John  Huntington  Collection. 

63  DISH. 

Pottery.  Decorated  with  floral  patterns  in  blue,  green 
and  purple. 

Damascus. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

64  BOX. 

Brass.  Cylindrical,  with  ring  at  the  top  for  suspension. 
Decorated  with  arabesques  and  inscriptions. 

Saracenic.  Arab. 

The  John  Huntington  Collection. 

6s  BOWL. 

Pottery.  Decorated  with  figures  and  inscriptions  in  blue, 
black  and  white  over  robin's-egg-blue  glaze. 
Rhages.  XIII  Century. 
The  John  Huntington  Collection. 

66  BOWL. 

Pottery.  Lustre  ware. 
From  Fostat  in  E^ypt. 
The  John  Huntmgton  Collection. 

67  CARVED  PANEL. 

Wood.  Has  been  lacquered  and  gilded.  Buddhist  Divini- 
ties in  niches  and  recesses  among  lotus  rinceaux. 

Indian.  Uncertain  date. 

Lent  by  Mr.  Hervey  E.  Wetzel. 

68  PANELS. 

Teak.  Carved  and  pierced. 
Indian. 
Lent  by  Mr.  Lockwood  de  Forest. 

157 


THE  CLEVELAND  MUSEUM 

69  PAINTING. 

Portrait  of  Tahmasp  I,  Shah  of  Persia,  b.  15 14.  Ascended 
throne  1524.  d.  1576. 

Persian;  in  the  style  of  Behzad.  About  1575. 

The  Worcester  R.  Warner  Collection. 

70  PAINTING. 

A  lady  in  a  garden.  The  treatment  of  the  flowers  suggests 
that  on  Rhodian  pottery. 

Persian  painting,  so  far  as  known  to  us,  began  in  the  XIII 
Century.  It  received  a  great  impulse,  probably  under 
Chinese  influences,  at  the  time  of  the  conquest  of  Persia 
by  the  Mongols  in  1258.  It  reached  its  zenith  in  the  XV 
Century.  Behzad,  the  greatest  master  of  the  school,  was 
born  about  1460,  and  died  in  1525.  His  fame  reached  Con- 
stantinople, and  had  a  great  influence  on  the  Venetian, 
Gentile  Bellini. 

Persian.  By  Abdallah,  of  the  school  of  Usted  Mahmud. 

About  1620. 

Lent  by  Mr.  I.  Schweiger. 

71  PAINTING. 

Shaikh  A'ou-'Ali  Qalandar.  A  Mahomedan  saint  born 
at  Iraq.  Went  to  India,  Hved  and  died  in  1324  at  Panipat. 
Imaginary  portrait. 

Persian.  Bokhara  School.  About  1570. 

Lent  by  Mr.  I.  Schweiger. 

72  PAINTING. 

The  Emperor  Baber,  first  Mogul  Emperor  of  India,  at  a 
repast.  B.  1483.  Ascended  throne  1526.  d.  1530.  Not  from 
life,  but  perhaps  from  a  life  portrait. 

The  art  of  painting  was  carried  to  India  from  Persia, 
in  1526,  by  the  Mogul  conquerors.  It  did  not  begin  to  as- 
sert its  individuality  until  the  reign  of  Baber's  grandson, 
Akbar,  1 5 50- 1 605 .  The  art  of  portrai ture,  in  which  it  chiefly 
excelled,  became  fashionable  at  the  courts  of  Jehangir  and 
Shah  Jehan,  Akbar's  son  and  grandson,  1605- 165 8,  from 
which  period  the  finest  works  date. 

Indian.  Mogul  School  about  1650. 

Lent  by  Mr.  I.  Schweiger. 

158 


THE  ART  OF  THE  NEARER  EAST 

73  PAINTING. 

Portrait  of  Prince  Murad  Baksh,  youngest  son  of  Shah 
Jehan.  d.  1662. 

Indian.  Mogul  School.  XVII  Century. 

The  Worcester  R.  Warner  Collection. 

74  PAINTING. 

Portrait  of  the  Emperor  Shah  Jehan  on  horseback. 
Indian.  Mogul  School.  Late  XVII  Century. 
The  Worcester  R.  Warner  Collection. 

75  PAINTING. 

Portrait  of  Mirza  Muizz,  a  Persian  who  held  high  office 
under  the  Emperor  Aurungzebe.  1659-1707. 

Indian.  Mogul  School.  Late  XVII  Century. 

The  Worcester  R.  Warner  Collectioiji. 

76  PAINTING. 

Portrait  of  Nawab  Asad  Khan.  d.  1717.  Prime  minister  of 

the  Emperor  Bahadur  Shah  I.  1707-1712. 
Indian.  Mogul  School.  Late  XVII  or  early  XVIII  Cen- 
tury. 
Lent  by  Mr.  I.  Schweiger. 

77  PAINTING. 

Landscape,  with  a  man  on  horseback  hunting  a  deer;  an- 
other on  a  camel  is  playing  a  harp. 

Persian. 

The  John  Huntington  Collection. 

78  PAINTING. 

Leaf  from  a  MS.  with  the  same  figure  on  both  sides,  a 
bearded  man  holding  a  large  serpent. 

Persian.  XIV  Century 

Lent  by  Mr.  Hervey  E.  Wetzel. 

79  PAINTING. 

Warriors  on  horseback  and  afoot,  in  a  landscape. 
Persian.  XV  Century. 
Lent  by  Mr.  Hervey  E.  Wetzel. 

80  PAINTING. 

Portrait  of  Raad  Andaz  Khan,  Swbadar  of  Kabul. 
Indian.  Mogul  School.  Early  XVIII  Century. 
Lent  by  Mr.  I.  Schweiger. 

159 


THE  CLEVELAND  MUSEUM 

8 1  PAINTING. 

Portrait  of  the  Emperor  Alamgir  II;  Aziz-uddin,  son  of 
Jahander  Shah.  b.  1688.  Ascended  throne  1754.  d.  1759. 

Indian.  Mogul  School.  About  1755. 

Lent  by  Mr.  I.  Schweiger. 

82  BOOK. 

Illuminated  title-page.  Cut  leather  binding,  colored  and 
gilt. 

Persian. 

Lent  by  Mr.  Hervey  E.  Wetzel. 

83  BOOK. 

Illuminated  title-page.  European  binding. 
Persian. 
Lent  by  Mr.  Hervey  E.  Wetzel. 

84  BOOK. 

Illuminated  title-page  and  illustration.  Cut  leather  bind- 
ing. 

Persian. 

Lent  by  Mr.  Hervey  E.  Wetzel. 

85  BOOK. 

Illuminated  page.  Cut  leather  binding. 
Lent  by  Mr.  Hervey  E.  Wetzel. 

86  SILK  BROCADE. 

On  a  sapphire  blue  ground  a  pattern  of  tulips  and  leaves 
in  apricot  and  gold. 

Persian. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

87  LINEN  SQUARE. 

Embroidered  with  silk. 
Persian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

88  SILK  BROCADE. 

A  pattern  of  conventionalized  tulips  in  gold  on  a  crimson 
ground. 

Persian. 

The  John  Huntington  Collection. 

160 


THE  ART  OF  THE  NEARER  EAST 

89  LINEN  COVERLET  OR  HANGING. 

Embroidered  with  silk. 
Turkish  or  Central  Asian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

90  SILK  AND  GOLD  GAUZE  IN  SQUARE. 

Red  tone. 
Persian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

91  GREEN  GAUZE  SCARF. 

Bordered  and  striped  with  gold  and  red. 
Persian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

92  LINEN  COVERLET  OR  HANGING. 

Embroidered  with  coral  red  silk. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

93  CLOTH-OF-GOLD  SCARF. 

Patterns  of  flowers  in  colored  silks. 
Persian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

94  GREEN  SILK,  GOLD  AND  SILVER  SCARF. 

Pattern  of  flowers. 
Persian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

95  PURPLE  GAUZE  SQUARE. 

Gold  and  silver  patterns. 
Indian. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

96  CLOTH-OF-SILVER  SCARF. 

Grey  and  coral  ground,  striped  and  bordered  with  flower 
patterns. 

Persian. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

161 


GALLERY  XIII— CHINESE  ART 


IF  there  is  one  point  connected  with  Ancient  Chinese  Art  on 
which  we  may  feel  reasonably  certain,  it  is  that  there  is  hardly 
one  on  which  we  are  justified  in  being  positive.  From  Shang 
bronze,  which  cannot  be  later  than  the  Twelfth  century  before  Christ, 
to  Sung  pottery  which  cannot  be  earlier  than  the  Tenth  after, 
there  is  scarcely  one  subject  upon  which  it  is  possible  to  be  sure 
that  our  position  is  impregnable. 

The  chief  of  many  reasons  for  this  uncertainty  would  seem  to 
He  in  the  reluctance  of  the  Chinese  themselves  to  permit  anything 
in  the  way  of  excavation.  Until  this  can  be  overcome,  it  must  be 
impossible  to  establish  a  secure  basis  for  the  science  of  Chinese  arch- 
aeology. When  one  of  the  very  greatest  authorities  on  this  nebulous 
subject  has  to  admit  that  he  never,  in  the  course  of  many  long  visits 
to  China  for  the  purpose  of  archaeological  investigation,  was  able 
to  be  present  at  the  opening  of  a  burial  place,  what  hope  can  less 
fortunate  and  erudite  students  have  of  solving  these  mysteries  ? 

The  origins  of  Chinese  art  are  still  beyond  our  ken.  The  earliest 
date  claimed  by  the  Chinese  themselves  for  any  works  of  art  known 
to  have  survived  to  historic  times,  is  the  Shang  Dynasty  B.C. 
1766-1123.  Many  bronze  vessels  are  attributed  to  this  era,  but  it  is 
doubtful  if  any  of  them  can  be  proved  to  have  been  made  at  such 
a  remote  period.  When  we  reach  the  Chou  Dynasty  B.C.  1122-256 
we  find  ourselves  on  what  seems  to  be  surer  ground.  If  we  may  be- 
lieve the  inscriptions  which  a  large  number  of  these  bronze  vessels 
bear  we  have  a  standard  whereby  we  may  judge  and  classify  unin- 
scribed  pieces. 

It  should  be  recorded  that  even  the  earliest  of  these  objects  is 
of  workmanship  so  skilful  as  to  testify  to  a  long  and  still  more 
remote  past  of  experiment,  the  achievements  of  which  are  prob- 
ably forever  lost  to  us. 

It  may  be  well  to  remember  that,  besides  the  greater  remote- 
ness of  the  earliest  periods  of  any  art,  as  a  consequence  of  which 
fewer  objects  of  these  dates  are  likely  to  have  survived  the  tooth  of 
time  and  other  chances  of  destruction,  the  natural  increase  of 
population  renders  it  probable  that  more  actual  examples  of  any 
given  object  are  likely  to  have  been  made  at  a  later  than  at  an 
earlier  date. 

165 


THE  CLEVELAND  MUSEUM 

These  remarks  would  seem  to  apply  with  equal  cogency  to 
objects  made  of  jade.  With  the  possible  exception  of  a  small  quan- 
tity of  pottery  these  two  classes  of  works  of  art  are  all  that  have  sur- 
vived to  testify  to  the  earliest  arts  of  China. 

Of  the  style  of  the  Han  Dynasty  B.C.  206-230  A.D.,  which 
after  a  brief  interval  of  fifty  years  succeeded  to  the  Chou,  we  are 
justified  in  judging  more  certainly,  since  many  works  of  art  of  other 
kinds  and  materials  besides  bronze  have  come  down  to  us  from  this 
era. 

An  immense  change  appears  to  have  come  over  the  spirit  of 
the  Chinese  race  in  the  Han  Dynasty.  In  any  case  we  find  a  great 
development  in  the  arts  and  for  the  first  time  a  great  increase  in 
production,  not  merely  of  bronze  and  jade,  but  in  pottery  and  sculp- 
ture. Both  of  these  newer  arts  are  well  represented  in  this  exhibi- 
tion, although  the  sculpture  we  possess  is  expressed  through  the 
medium  of  pottery  ware.  Sometime  during  this  Dynasty, — or 
rather  Dynasties,  for  Han  was  subdivided, — probably  in  the  first 
century  of  our  era.  Buddhism  reached  China  from  India.  So  far 
as  we  may  judge  from  existing  remains  it  produced  no  great  im- 
pression on  the  arts  until  about  the  Fifth  century,  when  Han  had 
passed  away  and  a  period  known  to  historians  as  the  Six  Dynasties 
had  succeeded.  Under  one  of  these,  that  of  Northern  Wei, 386  to 
549  A.D.  Buddhism  would  seem  to  have  become  the  dominant  in- 
fluence in  art  and  therefore  probably  in  the  community.  Many 
allusions  in  the  Chronicles  reveal  its  growing  importance  before  this 
date,  and  it  is  recorded  that  the  persecutions  of  the  religion,  by  the 
first  king  of  this  very  Northern  Wei  Dynasty,  drove  one  hundred 
thousand  craftsmen  from  his  kingdom  to  seek  refuge  in  Korea, 
which  would  denote  a  large  Buddhist  community. 

If  we  may  trust  the  inscriptions  on  existing  stele  and  statues, 
the  late  Fifth  and  early  Sixth  centuries  should  supply  us  with  an 
art  which  exhibits  a  well  formed  style  of  Chinese  Buddhist  sculp- 
ture. Despite  their  dependence,  canonically,  on  the  teachings  of 
the  Indian  missionaries,  the  artists  retained  their  Chinese  method 
of  representing  sacred  subjects  and  personages;  even,  as  by  de- 
grees, the  insistence  of  the  priests  compelled  a  more  rigid  conform- 
ity with  the  scriptures  in  the  case  of  the  Buddha  and  his  "canon- 
ized" attendants,  on  the  lay  side  of  art  as  we  may  call  it,  in  proces- 
sions, or  groups  of  donors  and  representations  of  events  in  the  life 
of  the  Buddha  himself, — they  remained  true  to  their  national 
methods.  This  is  also  true  of  Taoist  sculpture. 

166 


CHINESE  ART 

The  great  monument  of  the  art  of  these  times  is  the  sculp- 
tured decoration  of  the  cave  temples  of  Lung-men  in  Honan.  As 
these  can  be  dated  from  500  A.D.  onward,  they  provide  us  with 
standards  for  the  measurement  of  the  numerous  works  of  sculp- 
ture, which  have  survived  to  adorn  our  collections. 

The  empire  was  again  consolidated  under  the  Sui  Dynasty 
581  to  617  A.D.,  which  however  was  shortlived,  and  was  succeeded 
in  618  by  the  great  house  of  T'ang,  which  held  sway  for  three  hun- 
dred years.  This  was  perhaps  the  first  great  and  probably  the  great- 
est epoch  of  Chinese  art.  In  an  empire  which  covered  the  greater 
part  of  Asia,  east  of  the  Caspian  and  north  of  the  Himalayas,  and 
held  diplomatic  relations  with  the  Byzantine  emperors  and  the 
rulers  of  India,  every  foreign  influence  of  the  day  must  have  been 
felt.  As  a  consequence  we  find  a  great  cosmopolitan  art,  which  has 
only  here  and  there  been  analyzed  and  in  which  new  discoveries 
are  almost  daily  revealing  new  surprises.  We  have  yet  to  learn 
whether  China  originated  or  borrowed  numerous  motives  common 
to  the  arts  of  T'ang  and  to  those  of  the  countries  to  the  west  and 
south.  Painting,  sculpture,  the  arts  of  the  metal  worker,  the  weaver 
and  the  potter  all  produced  work  of  the  utmost  beauty  and  tech- 
nical skill.  Indeed,  it  is  credible  that  in  no  field,  except  that  of  porce- 
lain making,  did  China  again  surpass  the  achievements  of  this 
golden  age.  Probably  because  more  of  it  has  survived  to  our  day, 
the  painting  and  the  pottery  of  the  Sung  Dynasty,  960  to  1279 
A.D.,  would  seem  to  rank  higher  than  the  production  of  the  same 
arts  under  T'ang;  indeed  nothing,  that  has  so  far  come  to  light, 
would  justify  us  in  believing  that  any  pottery  in  the  world  is  so 
fine  as  that  of  Sung. 

The  next  Dynasty  of  Yuan  1280  to  1367,  saw  the  beginning  of 
the  end.  China  fell  beneath  a  foreign  yoke,  that  of  the  Mongols, 
who  in  the  Thirteenth  century  changed  the  mastership  of  a  great 
part  of  the  civilized  world.  They  were  succeeded  in  1368  by  a  na- 
tive Dynasty,  the  Ming,  under  whom  the  art  of  porcelain  making 
took  its  first  strides  towards  the  prominence  it  assumed  in  the  fol- 
lowing Ts'ing  or  Manchu  Dynasty.  This  art  reached  its  apogee 
under  the  emperors  K'ang-hsi  and  his  grandson,  Ch'ien-lung,  from 
which  time  most  of  the  treasures  of  our  collections  date. 


167 


THE  CLEVELAND  MUSEUM 

DATES  OF  THE  CHIEF  DYNASTIES  OF  CHINA. 

Hsia 2205  B.  C.  to  1767  B.C. 

Shang 1766  1 123 

Chou 1 122  256 

Ch'in 255  207 

Han 206  220  A.D. 

The  Six  Dynasties 220  A.D.  587 

Northern  Wei 386  549 

Sui 581  617 

T'ang 618  906 

Sung 960  1279 

Yuan 1280  1367 

Ming 1368  1643 

Including  the  reigns  of: 
Hsiian-te       1426-1435 
Ching-t'ai     1450-1456 
Chia-ching    1 522-1 566 
Ch'ing 1644  191 1 

Including  the  reigns  of: 
K'ang-hsi      1 662-1 722 
Yung-cheng  1723-1735 
Ch'ien-lung  1 736-1795 
Chia-ch'ing  1796-1820 

1  VOTIVE  STELE. 

Marble.  Kwanyin  seated,  surrounded  by  other  Bodhi- 
sattva.  Above  is  his  Dhyani  Buddha,  surrounded  by  an- 
gels, with  a  pagoda  guarded  by  dragons.  Below  are  three 
Bodhisattva  and  two  human-headed  birds. 

North  Wei  Dynasty.  Dated  440  A.D. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

2  PAINTING. 

In  ink  on  silk.  Mountains  in  Snow. 
Li  chen.  Sung  Dynasty. 
Lent  by  Mr.  Loo  Ching  Tai. 

168 


CHINESE  ART 

3  SACRIFICIAL  RICE  VESSEL  (TOU). 

Bronze.  With  a  cover.  Covered  with  ornament  in  low 
relief. 

Han  Dynasty. 

The  John  Huntington  Collection. 

4  HORSE  AND  RIDER. 

Pottery.  A  woman.  Traces  of  vermillion  paint.  These  fig- 
ures were  placed  in  the  grave  to  attend  the  deceased. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

5  CAMEL. 

Pottery.  With  saddle  bags,  ornamented  with  head  of 
Tao-t'ieh  monster.  Traces  of  vermillion  and  black  paint. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

6  ARMED  FIGURE. 

Pottery.  Traces  of  vermillion,  black  and  green  paint  on 
upper  portion.  Possibly  representing  Tamonten,  one  of 
the  four  guardians  of  the  universe. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

7  MATRIX. 

Terra-cotta.  For  making  moulds;  probably  for  casting 
bronze  placques.  A  bull. 

Uncertain  date. 

Lent  by  Mr.  Loo  Ching  Tai. 

8  ARMED  FIGURE. 

Pottery.  Traces  of  vermillion  paint.  These  figures  were 
placed  in  graves  to  guard  the  occupant. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

9  "GRANARY"  JAR. 

Pottery.  Green  iridescent  glaze. 
Han  Dynasty. 
The  John  Huntington  Collection. 

lo  FIGURINE. 

Pottery.  Woman.  Glazed  with  brown  on  dress  and  green 
on  scarf. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

169 


THE  CLEVELAND  MUSEUM 

11  BOWL. 

Pottery.  From  Rhages.  Described  under  No.  ^6  in  Gal- 
lery XII,  Near  Eastern  Art. 

12  FIGURINE. 

Pottery.  Woman. 
T'ang  Dynasty. 
The  John  Huntington  Collection. 

13  MATRIX. 

Terra-cotta.  For  making  moulds;  probably  for  casting 
•     bronze  placques.  A  camel. 
Uncertain  date. 
Lent  by  Mr.  Loo  Ching  Tai. 

14  SACRIFICIAL  TRIPOD  VESSEL  (TING). 

Bronze.  Band  of  ornament  round  upper  part. 
Sung  Dynasty. 
The  John  Huntington  Collection. 

15  HORSE. 

Pottery.  From  Honan.  Glazed  yellow  and  green. 
T'ang  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

16  WATER  BOTTLE. 

Bronze.  With  bird's  head  cover. 
T'sin  Dynasty. 
Lent  by  Messrs.  Yamanaka  and  Company. 

17  TS'UNG. 

Jade.  A  hollow  tube  surrounded  by  a  cube,  representing 
Earth.  In  Han  times  she  was  hymned  as  the  "Fertile 
Mother." 

The  John  Huntington  Collection. 

18  TS'UNG. 

Jade.  A  hollow  tube  surrounded  by  a  cube,  representing 
Earth. 

The  John  Huntington  Collection. 

19  VASE. 

With  cover.  Bronze.  Inlaid  partly  with  gold,  partly  with 
a  composition. 

Later  Han  Dynasty.  I  or  II  Century  A.D. 

Lent  by  M.  Paul  Mallon. 

170 


CHINESE  ART 

20  MONSTER. 

Probably  the  T'u  Kuei  or  Earth  Spirit.  Pottery.  Glazed 
yellow,  white  and  green.  Head  and  face  unglazed. 

T'ang  Dynasty. 

Lent  by  M.  Paul  Mallon. 

21  FIGURINE. 

Pottery.  Woman.  Face  glazed.  Traces  of  vermillion  paint 
on  dress. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

22  FIGURINE. 

Pottery.  Woman.  Glazed;  green  and  yellow. 
T'ang  Dynasty. 
The  John  Huntington  Collection. 

23  JAR. 

Pottery.  Green  glaze. 
Han  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

24  SACRIFICIAL  VESSEL  (TOU). 

Bronze. 

Chou  Dynasty. 

Lent  by  Messrs.  Yamanaka  and  Company. 

25  JAR. 

Pottery.  Green  glaze. 
Han  Dynasty. 
Lent  by  Mr.  T.  Kuroda. 

26  JAR. 

Pottery.  Decorated  with  ridges  in  low  relief.  Blue-green 

glaze. 

Han  Dynasty. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

27  BELL. 

Bronze.  The  traveling  bell  of  the  Great  Prince  of  Chou. 
Chou  Dynasty. 
Lent  by  Messrs.  Yamanaka  and  Company. 

171 


THE  CLEVELAND  MUSEUM 

28  JAR. 

Pottery.  Blue-green  glaze. 
Han  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

29  RUBBING  FROM  A  BAS-RELIEF  OF  THE  T'ANG 
DYNASTY. 

Carved  on  the  rock  wall  of  one  of  the  Cave  Temples,  Pin 
Yang  Tung  at  Lung-men,  in  Honan.  A  cortege  of  Impe- 
rial devotees,  possibly  the  founder  of  the  Temple,  his 
family  and  court. 

Gift  of  Messrs.  Yamanaka  and  Company. 

30  RUBBING  FROM  A  BAS-RELIEF  OF  THE  T'ANG 
DYNASTY. 

Carved  on  the  rock  of  one  of  the  Cave  Temples,  Pin 
Yang  Tung  at  Lung-men,  in  Honan.  A  cortege  of  Im- 
perial devotees,  possibly  the  founder  of  the  Temple,  his 
family  and  court. 

Gift  of  Messrs.  Yamanaka  and  Company. 

31  STATUE  OF  KWANYIN. 

Schistose  rock.  From  Lung-men. 
Six  Dynasties. 
Lent  by  Mr.  Grenville  L.  Winthrop. 

32  STATUE  OF  KWANYIN. 

Standing  on  a  lotus.  Marble.  In  his  tiara  are  seated  fig- 
ures of  the  five  Dhyani  Buddhas.  He  carries  in  his  right 
hand  a  vessel  containing  the  water  of  Life.  The  tiara,  the 
treatment  of  the  hair,  and  the  abundance  and  character 
of  his  jewels  denote  a  strong  Indian  (Gupta)  influence. 

T'ang  Dynasty. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

33  STATUE  OF  THE  BUDDHA  O-MFTO-FO. 

Seated,  in  the  attitude  of  contemplation.  White  marble. 
T*ang  Dynasty. 
The  Worcester  R.  Warner  Collection. 

172 


CHINESE  ART 


34  PAINTING. 

Mandara,  or  Buddhist  Pantheon.  Full  color. 
Sino-Tibetan.  Early  XVIII  Century. 
Gift  of  Mr.  Howard  P.  Eells. 


35  STATUE  OF  O-MFTO-FO. 

Marble. 

T'ang  Dynasty. 

Lent  by  Mr.  Loo  Ching  Tai. 

36  STATUE  OF  KWANYIN. 

Stone. 

North  Wei  Dynasty. 

Lent  by  Messrs.  Yamanaka  and  Company. 

37  PILASTER. 

Hollow  tile.  Rounded  shaft,  capital  and  base  identical. 
Ornamented  in  low  relief  with  decorative  motives;  on 
each  side,  in  a  panel,  is  stamped  the  figure  of  a  man  hold- 
ing a  halberd. 

Later  Han  Dynasty.  II  Century  A.D. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 


38  SACRIFICIAL  VESSEL  (TSUN). 
Bronze.  Inlaid  with  gold  and  silver. 
Sung  Dynasty  or  later. 
The  John  Huntington  Collection. 


39  HEAD  OF  A  BODHISATTVA. 

Life  size.  Black  schistose  rock. 
North  Wei  Dynasty.  V  Century. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

40  LOHAN. 

Terra-cotta.  Glazed  green,  yellow  and  white. 
T'ang  Dynasty. 
Lent  by  Mr.  Loo  Ching  Tai. 

173 


THE  CLEVELAND  MUSEUM 

41  TAPESTRY. 

The  Birthday  Festival  of  the  Emperor  Ch'ien-lung. 
Chinese  tapestry  is  so  rare  that  this  piece  is  almost  unique. 
It  was  made  as  a  present  for  Louis  XV  of  France  who  had 
sent  some  Gobelins  tapestries  to  the  Chinese  Emperor. 
The  border  is  a  copy  of  those  of  the  French  set,  but  the 
remainder  is  purely  Chinese.  The  number  of  stitches  to  the 
square  inch  is  extraordinarily  high,  ranging  from  700  to 
1 100,  and  the  technique  a  remarkably  skilful  imitation  of 
the  Gobelins.  It  is  not  known  why  the  gift  was  never  sent, 
but  the  tapestry  remained  in  the  Palace  at  Jehol  until  it 
was  stolen  a  few  years  ago. 

Chinese.  XVIII  Century. 

Lent  by  Mr.  John  L.  Severance. 

42  HEAD  OF  A  BODHISATTVA. 

Schistose  rock.  From  Lung-men. 
T'ang  Dynasty. 
Lent  by  Mr.  Grenville  L.  Winthrop. 

43  VASE. 

Pottery.Ting  type.  Decorated  with  peonies,  pheasants,  etc., 
in  low  relief  under  a  transparent  glaze  and  cream-white  slip. 

Ming  Dynasty. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

44  PAIR  OF  BOTTLES. 

and   Coral  red  porcelain. 
60        Ch'ien-lung  Period. 

Lent  by  Mr.  Loo  Ching  Tai. 

45  VASE. 

Porcelain.  Celadon.  Engraved  under  glaze. 
K'ang-hsi  Period. 
Lent  by  the  Messrs.  Duveen. 

46  GINGER  JAR. 

Porcelain.  Blue  and  white. 
K'ang-hsi  Period. 
Lent  by  Miss  Mary  C.  Sears  and  Miss  Agnes  St.  John. 

47  BOX. 

Pottery.  Blueish-white  glaze. 
Korean. 
Lent  by  Mr.  T.  Kuroda. 

174 


CHINESE  ART 

48  JAR. 

Pottery.  Kuang  Tung  ware.  Decorated  with  peony  scrolls 
in  relief.  Blue-white  glaze. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

49  BOTTLE. 

Porcelain.  Blueish  celadon,  crackled.  Lang-yao. 
Ch'ien-lung  Period. 
Lent  by  the  Messrs.  Duveen. 

50  BOWL. 

Pottery.  Melon-shaped.  Transparent  glaze  over  cream- 
colored  slip. 

Sung  Dynasty. 

Lent  by  Mr.  Langdon  Warner. 

51  WRITER'S  SCREEN. 

Porcelain.  Famille  verte. 
K'ang-hsi  Period. 

From  the  J.  P.  Morgan  Collection. 
Lent  by  the  Messrs.  Duveen. 

52  BOTTLE. 

Porcelain.  Powder-blue  with  white  reserves  filled  with 
enamel  decoration  in  colors. 

K'ang-hsi  Period. 

From  the  J.  P.  Morgan  Collection. 

Lent  by  the  Messrs.  Duveen. 

53  TRUMPET-SHAPED  VASE. 

Porcelain.  Palmettes  incised  under  turquoise  glaze. 
From  the  J.  P.  Morgan  Collection. 
Lent  by  the  Messrs.  Duveen. 

54  VASE. 

Porcelain.  Sang-de-boeuf.  Celadon  at  base.  Lang-yao. 
Late  Ming  or  Early  C'hing  Dynasty. 
Lent  by  the  Messrs.  Duveen. 

55  BOTTLE. 

Porcelain.  Deep  blue. 
Ch'ien-lung  Period. 
Lent  by  the  Messrs.  Duveen. 

56  GINGER  JAR. 

Porcelain.  Five  colors. 
K'ang-hsi  Period. 
Lent  by  Miss  Mary  C.  Sears  and  Miss  Agnes  St.  John. 

175 


THE  CLEVELAND  MUSEUM 

57  AMPHORA-SHAPED  VASE. 

Porcelain.  Peachblow.  Marked,  Ta  Ch'ing  K'ang-hsi 
nienchih. 

K'ang-hsi  Period. 

From  the  J.  P.  Morgan  Collection. 

Lent  by  the  Messrs.  Duveen. 

58  GINGER  JAR. 

Porcelain.  Apple-green.  Lang-yao. 
XVII  Century. 
Lent  by  the  Messrs.  Duveen. 

59  BOWL. 

Porcelain.  Clair-de-lune.  Six-character  mark. 
K'ang-hsi  Period. 
Lent  by  the  Messrs.  Duveen. 

60  PAIR  OF  BOTTLES. 

See  No.  44. 

61  JAR. 

Pottery.  T'zu  Chou  ware.  Decorated  with  leaf  scroll  pat- 
tern, cut  through  a  dark  brown  glaze,  revealing  the  grey 
clay  as  a  background. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

62  BOX. 

Porcelain.  Peachblow.  Six-character  mark. 
K'ang-hsi  Period. 
Lent  by  the  Messrs.  Duveen. 

63  VASE. 

Porcelain.  Apple-green,  crackled. 
Lent  by  the  Messrs.  Duveen. 

64  PLATE. 

Pottery.  Ting  ware.  Decorated  inside  with  flower  pat- 
terns in  low  relief  under  a  cream-white  glaze. 

Sung  Dynasty. 

The  John  Huntington  Collection. 

es  JAR  AND  COVER. 

Porcelain.  Mirror-black. 
Lent  by  the  Messrs.  Duveen. 

176 


CHINESE  ART 

66  CYLINDRICAL  POT  AND  COVER. 

Porcelain.  Powder-blue,  with  white  reserves  with  flowers 
and  ornaments  in  enamel  colors. 

K'ang-hsi  Period. 

From  the  J.  P.  Morgan  Collection. 

Lent  by  the  Messrs.  Duveen. 

67  BOWL. 

Pottery.  Decorated  inside  and  out  with  chrysanthemum 
designs,  lightly  incised  under  a  slightly  blueish  celadon 
glaze. 

Korean.  Korai  Period.  920-1392  A.D. 

Lent  by  Mr.  Langdon  Warner. 

68  SAUCER. 

Pottery.  Hakugorai  ware.  Scalloped  rim  and  fluted  sides. 
Transparent  blueish  glaze. 

Korean.  Korai  Period.  920-1392  A.D. 

Lent  by  Mr.  Langdon  Warner. 

69  BOWL. 

Pottery.  Olive  celadon  glaze. 

Korean.  Korai  Period.  920-1392  A.D. 
Lent  by  Mr.  Langdon  Warner. 

70  BOTTLE.  ■ 

Pottery.Tingtype.Transparent  glaze  over  cream-white  slip. 
Yiian  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

71  PAIR  OF  WIDE-MOUTHED  JARS. 

Pottery.  Chiin  ware.  Grey-blue  glaze  with  purple  splashes. 
Yuan  Dynasty. 
Lent  by  Mr.  S.  T.  Peters. 

72  BOTTLE. 

Pottery.  T'zu-chou  ware.  Decorated  with  flower  patterns 
in  green  and  purple  on  a  cream-slip  under  a  transparent 
glaze. 

Lent  by  Mr.  S.  T.  Peters. 

73  BOX. 

With  five  smaller  boxes  inside.  Pottery  celadon,  inlaid 
with  black  and  white. 

Korean.  Korai  Period  920-1392  A.D. 

Lent  by  Messrs.  Yamanaka  and  Company. 

177 


THE  CLEVELAND  MUSEUM 

74  JAR. 

Pottery.  T'zu  Chou  ware.  Decorated  with  floral  sprays 
in  black  under  glaze.  Slip  intended  to  be  cream-white, 
but  by  accident  is  purphsh  grey. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

75  BOTTLE. 

Porcelain.  Coral-red.  \ 

Lent  by  the  Messrs.  Duveen. 

76  JAR. 

Pottery.  T'zu-chou  ware.  Decorated  with  olive  slip  cut 
through,  revealing  brown  clay  as  a  background. 
Lent  by  Mr.  S.  T.  Peters. 

77  PAINTING. 

In  ink  on  silk.  The  Rain  Storm,  by  Hsia  Kuei. 
Sung  Dynasty. 
Lent  by  Messrs.  Yamanaka  and  Company. 

78  PILLAR  RUG. 

Lent  by  Mr.  Frederic  Moore. 

79  COLOSSAL  HEAD  OF  BUDDHA. 

Grey  marble. 

North  Wei  style.  Possibly  Archaistic. 
The  Worcester  R.  Warner  Collection. 

80  RECTANGULAR  HOLLOW  TILE. 

Ornamented  on  the  two  larger  faces  with  three  frieze-like 
repetitions  of  stamps.  The  upper  band  shows  two  de- 
moniac figures  chasing  one  another  through  a  mountainous 
waste.  The  second,  a  tiger,  springing  on  a  fleeing  horse, 
and  the  lower,  a  horseman  shooting  a  wild  ass  with  a  bow 
and  arrow. 

These  tiles  are  said  to  be  called  **Music  stand  bricks"  by 
the  Chinese,  and  may  have  been  used  to  increase  the  reso-- 
nance  of  harps  and  other  instruments  which  were  rested 
on  them. 

Later  Han  Dynasty.  II  Century  A.D. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

178 


CHINESE  ART 

8 1  RECTANGULAR  HOLLOW  TILE. 

With  a  projection  at  one  end.  Stamped  in  relief,  but 
countersunk  below  the  surface,  with  various  patterns; 
among  them  a  man  driving  a  cart,  a  monster  head  with 
a  ring  in  its  mouth,  such  as  appears  in  heu  of  handle  on 
Han  jars,  a  knot  and  other  devices.  The  arrangement  of 
these  shows  that  the  tile  stood  upright  on  end. 

Later  Han  Dynasty.  II  Century  A.D. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

82  PAINTING. 

Ink  and  color  on  silk.  A  Nobleman  with  his  Servant. 
Sung  Dynasty. 
Lent  by  Mr.  Loo  Ching  Tai. 

83  RECTANGULAR  HOLLOW  TILE. 

Stamped  in  intaglio  with  a  phoenix,  repeated  four  times 
on  each  side.  Bordered  with  a  diamond  diaper  pattern. 

Later  Han  Dynasty.  II  Century  A.D. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

84  PILLAR  RUG. 

Lent  by  Mr.  Frederic  Moore. 

85  FLAT  BOTTLE-SHAjPED  VESSEL. 

Bronze.  Decorated  with  scrolls  in  rectangles,  the  dividing 
bands  incrusted  with  gold  and  silver. 

Late  Sung  Dynasty. 

Lent  by  M.  Paul  Mallon. 

86  PILASTER. 

Hollow  tile.  Rounded  shaft,  capital  and  base  identical. 
Ornamented  in  low  relief,  with  decorative  motives.  On 
each  side  in  a  panel  is  stamped  the  figure  of  a  man  holding 
a  halberd. 

Later  Han  Dynasty.  II  Century  A.D. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

87  BOTTLE. 

Pottery.  Ting  ware.  Cream-white  slip  under  a  transparent 
glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

179 


THE  CLEVELAND  MUSEUM 

88  PLATE. 

Pottery.  Ting  ware.  Decorated  with  flowers  and  scrolls 
in  relief  under  a  white  glaze. 
Sung  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

89  FLOWER-POT. 

Pottery.  Chun  ware.  Opalescent  grey-blue  glaze.  Marked 
one  in  Chinese  characters.  Has  been  cut  down. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

90  VASE. 

Pottery.  T'zu-chou  ware.  Decorated  with  flowers  in  brown 
on  a  cream  slip  under  a  transparent  glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

91  BOTTLE. 

Pottery.  Chun  ware.  Brilliant  turquoise  glaze  with  one 
deep  purple  splash. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

92  PILLOW. 

Pottery.  T'zu-chou  ware.  Decorated  with  figure  subjects 
in  panels  in  black  on  a  cream-white  slip  under  a  transparent 
glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

93  INCENSE  BURNER. 

Pottery.  Chiin  ware.  With  six  legs.  Decorated  with  rams* 
heads  in  relief.  Greenish  turquoise  glaze,  crackled. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

94  BOTTLE. 

Pottery.  T'zu-chou  ware.  Decorated  with  flower  sprays 
in  brown  on  a  cream-white  slip  under  a  transparent  glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

180 


CHINESE  ART 

95  TRIPOD  "BULB"  BOWL. 

Potter)^  Chun  ware.  Grey-blue  glaze. 

The  so-called  "Bulb"  bowls  were  made  as  saucers  for  the 

flower-pots. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

96  DEEP  BOWL. 

Pottery.  Chiin  ware.  "Moonlight"  purple-blue  opalescent 
glaze. 

Yuan  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

97  INCENSE  BURNER. 

Pottery.  Chiin  ware.  Blue  glaze. 
Sung  Dynasty. 
Lent  by  Mr.  S.  T.  Peters. 

98  PAIR  OF  FLOWERPOTS  AND  SAUCERS. 

and   Pottery.  Chiin  ware.  Rectangular  oblong.  Marked  ten  in 

99  Chinese  characters.   The  flowerpots  are  purple  outside, 
blue  inside.  The  saucers  are  various  tones  of  grey. 

Sung  Dynasty. 

Lent  by  Messrs.  Yamanaka  and  Company. 
100  VASE  WITH  FOUR  FLANGES. 

Pottery.    Chiin  ware.  Purple  outside,  blue  inside.  Has 
been  cut  down  from  a  tall  beaker  shape. 

Sung  Dynasty. 

Lent  by  Messrs.  Yamanaka  and  Company, 
loi  TRIPOD  INCENSE  BURNER. 

Pottery.  Chiin  ware.  Lavender-blue  glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

102  BOX  AND  COVER. 

Pottery.  Chun  ware.  Blue  glaze  with  purple  blotch  on  the 
top. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

103  OVAL  BOWL  IN  THE  SHAPE  OF  A  PEACH. 

Pottery.  Ting  ware.  Moulded  inside  in  low  relief  with 
flower  scrolls.  Cream-white  glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

181 


THE  CLEVELAND  MUSEUM 

104  BOTTLE. 

Pottery.  Ting  type.  Cream-bufF  slip  under  transparent 
crackled  glaze. 

Sung,  or  possibly  T'ang  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

105  OIL  JAR. 

Pottery.  T'zu-chou  ware.  Decorated  with  palmette  scroll 
cut  through  brown  slip  revealing  the  grey  clay  as  a  back- 
ground. 

Lent  by  Mr.  S.  T.  Peters. 

106  VASE. 

Pottery.  Flower  scrolls  carved  in  the  clay  under  a  pale- 
blue  glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

107  VASE. 

Pottery.  Tu  Ting  ware.  Cream-white  glaze. 
Sung  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

108  BOTTLE. 

Pottery.  Chiin  ware.  Blue  glaze  with  purple  splash. 
Sung  Dynasty. 
Lent  by  Mr.  S.  T.  Peters. 

109  JAR.  . 

Pottery.  T'zu  Chou  ware.  Decorated  with  floral  design  in 
panels,  in  black,  on  a  cream-white  slip,  under  a  transparent 
glaze. 

Gift  of  Mr.  and  Mrs.  Ralph  King. 

no  BOWL. 

Pottery.  Ting  ware.  Decorated,  outside  in  rehef  with  lotus 
petals,  inside  with  fish  incised,  all  under  a  grey-white 
glaze. 

Sung  Dynasty. 

Lent  by  Mr.  S.  T.  Peters. 

Ill  BOWL. 

Pottery.  Chiin  ware.  Opalescent  blue  glaze. 
Sung  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

182 


CHINESE  ART 

112  BOWL. 

Pottery.  Chiin  ware.  Opalescent  blue  glaze. 
Yuan  Dynasty. 
Gift  of  Mr.  and  Mrs.  Ralph  King. 

1 13  FIGURE  OF  A  CHILD. 

Pottery.  T'zu-chou  ware.  Painted  with  red,  black  and 
green  on  a  white  slip. 

Lent  by  Mr.  S.  T.  Peters. 

1 14  PILLOW. 

Pottery.  T'zu  Chou  ware.  Decorated  with  drawings  of  a 
stag  on  top  and  floral  scrolls  on  side,  in  black,  on  a 
cream-white  slip  under  a  transparent  glaze. 

Sung  Dynasty. 

Gift  of  Mrs.  Langdon  Warner. 

115  PAINTING. 

Ink  and  color  on  silk.  Returning  from  a  Spring  Journey. 
Ma  Yuan.  Sung  Dynasty. 
Lent  by  Mr.  Loo  Ching  Tai. 

116  O-MLTO-FO  TRINITY. 

Marble.  Late  T'ang  style.  Archaistic. 
The  John  Huntington  Collection. 

117  LOTUS  THRONE. 

White  marble.  The  pedestal  of  a  seated  Buddha,  now  lost, 
whose  drapery  depends  over  portion  of  the  upper  lotus; 
the  base,  a  reversed  lotus,  carries  an  octagonal  drum, 
carved  in  low  relief,  with  figures  of  disciples  standing  in 
niches,  and  with  inscriptions. 

T'ang  Dynasty.  Dated  629  A.D. 

The  Worcester  R.  Warner  Collection. 

118  WAR  DRUM. 

Bronze.  With  frogs  on  top. 
Han  Dynasty. 
Lent  by  Messrs.  Yamanaka  and  Company. 

119  CARPET. 

Silk.  From  the  palace  at  Jehol. 
Ching  Dynasty. 
Lent  by  Mr.  A.  W.  Bahr. 

183 


THE  CLEVELAND  MUSEUM 

1 20  CARPET. 

C'hing  Dynasty. 
The  John  Huntington  Collection. 

121  SILK  TAPESTRY.  (K'O-SSU.) 

Rocks  and  flowers. 
Ch'ing  Dynasty. 
The  John  Huntington  Collection. 

122  SILK  TAPESTRY.  (K'O-SSU.) 

Rocks  and  flowers. 
Ch'ing  Dynasty. 
The  John  Huntington  Collection. 

123  BOWL. 

Glass.  Surface  disintegrated  by  burial. 
Possibly  Sung  Dynasty. 
The  Worcester  R.  Warner  Collection. 

124  TRAY. 

Red  "Coromandel"  lacquer. 
Ming  Dynasty. 
Lent  by  Mr.  T.  Kuroda. 

125  PL 

Jade.  A  circular  disc  symbolizing  Heaven.  These  pi  were 
probably  used  in  sacrifices  to  him.  Smaller  pi  than  this 
were  offered  to  the  Emperor  by  feudal  princes  or  were 
used  in  burial  ceremonies. 

Han  Dynasty. 

The  John  Huntington  Collection. 

126  KUEI  PI. 

Jade.  A  combination  of  two  emblems  usually  employed 
in  the  worship  of  the  sun,  moon  and  stars. 

C'hing  Dynasty. 

The  John  Huntington  Collection. 

127  BOWL. 

Jade.  Carved  with  rocks  and  waves. 
C'hing  Dynasty.  Reign  of  K'ang  Hsi. 
The  Worcester  R.  Warner  Collection. 

128  KUEI. 

Jade.  A  symbol  of  rank;  used  in  different  sizes  and  shapes 
by  the  Emperor  and  feudal  princes. 

Han  Dynasty. 

The  John  Huntington  Collection. 

184 


CHINESE  ART 

129  SWORD. 

Bronze. 

Uncertain  date. 

The  Worcester  R.  Warner  Collection. 

130PLACQUE. 

Bronze  inlaid  with  turquoise.  Probably  part  of  a  suit  of 
armor. 

Sung  [?]  Dynasty. 

Lent  by  Mr.  Loo  Ching  Tai. 

131  STATUETTE. 

Ivory.  Female  figure,  carrying  a  child.  Perhaps  Kwanyin 
(Hariti),  or  Maya  with  the  infant  Buddha. 

Uncertain  date. 

Gift  of  Mr.  A.  W.  Bahr. 

132  A  WINGED  TIGER-HEADED  MONSTER. 

Bronze.  Probably  a  ya-hsiu  (sleeve-weight)  to  retain  in 
place  the  robes  of  the  dead.  The  tiger  was  regarded  as 
potent  against  evil  spirits. 

T'ang  Dynasty. 

The  Worcester  R.  Warner  Collection. 

133  CLASP. 

Bronze,  incrusted  with  gold  and  silver,  somewhat  in  the 
shape  of  a  Tao-t'ieh  monster  head. 
The  Worcester  R.  Warner  Collection. 

134  CLASP. 

Bronze.  Inlaid  and  incrusted  with  gold  and  silver.  It  has 
two  studs  on  the  inner  side;  very  unusual. 

T'ang  Dynasty. 

The  Worcester  R.  Warner  Collection. 

135  CLASP. 

Bronze.    Incrusted   with   gold.    Shaped   like    a   dragon. 
"Scythian"  tendency  to  break  up  convolutions  with  other 
animal  or  birds'  heads. 
The  Worcester  R.  Warner  Collection. 

136  CLASP. 

Bronze,  incrusted  with  red  gold.  Roughly  dragon-shaped. 
"Scythian"  influence. 

The  Worcester  R.  Warner  Collection. 

185 


THE  CLEVELAND  MUSEUM 

137  CLASP. 

Iron,  incrusted  with  gold  and  silver. 
T'ang  Dynasty. 
The  Worcester  R.  Warner  Collection. 

138  CLASP. 

Iron,  incrusted  with  gold  and  silver. 
T'ang  Dynasty. 
The  Worcester  R.  Warner  Collection. 

139  CLASP. 

Iron,  incrusted  with  gold  and  silver. 
T'ang  Dynasty. 
The  Worcester  R.  Warner  Collection. 

140  CLASP. 

Iron,  incrusted  with  gold  and  silver. 
T'ang  Dynasty. 
The  Worcester  R.  Warner  Collection. 

141  CLASP. 

Iron,  incrusted  with  gold  and  silver. 
T'ang  Dynasty.  • 
The  Worcester  R.  Warner  Collection. 

142  CLASP. 

Iron,  incrusted  on  both  sides  with  silver,  on  the  front  with 
gold  also. 

T'ang  Dynasty. 

The  Worcester  R.  Warner  Collection. 

143  CLASP. 

Iron,  incrusted  on  both  sides  with  silver,  on  the  front  with 
gold  also. 

T'ang  Dynasty. 

The  Worcester  R.  Warner  Collection. 

With  these  Chinese  clasps  are  shown  several  objects  of  iron 
incrusted  with  precious  metals,  in  a  technique  and  even  in  a  style 
of  ornament  of  a  startling  similarity.  These  buckles  and  placques 
are  of  Merovingian  make,  about  the  VI  Century  A.D.,  approxi- 
mately contemporaneous  with  the  T'ang  clasps,  and  are  from 
graves  in  the  East  of  France. 

186 


CHINESE  ART 

144  PLACQUE  OF  A  BUCKLE. 

Iron,  incrusted  with  silver.  At  each  corner  is  a  gilt  bronze 
stud. 

Merovingian. 

The  Worcester  R.  Warner  Collection. 

145  CIRCULAR  PLACQUE. 

Iron,  incrusted  with  silver. 
Merovingian. 
The  Worcester  R.  Warner  Collection. 

146  BELT  BUCKLE  AND  TANG. 

Iron,  incrusted  with  silver.  Three  bronze  studs  on  each 
served  to  fasten  them  to  the  leather. 

Merovingian. 

The  Worcester  R.  Warner  Collection. 

147  BUCKLE. 

Iron,  incrusted  with  silver.  Three  bronze  studs  served  to 
fasten  it  to  the  leather.  On  the  tang  is  inlaid  a  triangular 
piece  of  red  paste. 

Merovingian. 

The  Worcester  R.  Warner  Collection. 

148  PLACQUE. 

Iron,  incrusted  with  silver  and  gold.  Two  gilt  bronze  studs. 
Merovingian. 
The  Worcester  R.  Warner  Collection. 

149  PLACQUE. 

Iron,  incrusted  with  silver. 
Merovingian. 
The  Worcester  R.  Warner  Collection. 

150  RECUMBENT  OX. 

Gilt  bronze. 
Uncertain  date. 
The  Worcester  R.  Warner  Collection. 

151  RECUMBENT  OX. 

Gilt  bronze. 
Uncertain  date. 
The  Worcester  R.  Warner  Collection. 

187 


THE  CLEVELAND  MUSEUM 

152  MIRROR. 

"White  bronze."  With  eight  round  lobes.  Ornamented 
with  two  flying  birds  carrying  tassels  and  two  mandarin 
ducks.    Bees  and  flower  sprays  alternate  in  the  lobes. 

T'ang  Dynasty. 

Lent  by  Mr.  Langdon  Warner. 

153  MIRROR. 

Bronze. 

Six  Dynasties. 

The  John  Huntington  Collection. 

154  MIRROR. 

"White  Bronze".  So-called  "Grape  and  Seahorse"  pattern 
of  vine  rinceaux  with  animals,  birds  and  insects. 

T'ang  Dynasty. 

The  John  Huntington  Collection. 

155  MIRROR. 

Bronze.  Ornamented  with  two  lions  and  two  Ho-o 
(phoenixes)  clouds,  insects  and  sprays  of  flowers. 

T'ang  Dynasty. 

Lent  by  Mr.  Hervey  E.  Wetzel. 

156  SILVER  GORGET. 

With  chains  for  suspension.  Set  with  a  turquoise  deity, 
supported  by  two  Naga  figures,  in  the  centre  of  a  mass  of 
precious  and  semi-precious  stones,  arranged  symmetrically 
in  an  ornamental  fashion. 

Tibetan. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

157  GOLD  AND  JEWELED  PENDANT. 

With  chain  for  suspension.  Four  divinities,  the  principal 
seated  beneath  a  nine-headed  Naga  canopy,  on  an  elab- 
orate throne. 

Tibetan.  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

158  PAIR  OF  GOLD  EARRINGS. 

Filagree,  set  with  precious  and  semi-precious  stones.  Four 
minute  figures,  one  of  emerald,  one  of  coral,  and  two  of 
lapis-lazuli.  The  back  is  also  filagreed  and  jeweled. 

Tibetan.  Perhaps  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

188 


CHINESE  ART 

159  GOLD  PENDANT. 

Set  with  precious  stones.  A  green  Tara  is  seated  under  a 
Naga  canopy  of  seven  serpents*  heads,  between  two  atten- 
dant Nagas  with  lapis-lazuH  faces. 

Tibetan.  Probably  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

160  GOLD  PENDANT. 

With  a  lapis-lazuH  Tara.  Perhaps  a  restoration.  The  at- 
tendants' faces  are  turquoise. 

Tibetan. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

161  PAIR  OF  GOLD  PENDANTS. 

Jeweled.  A  deity  with  lapis-lazuli  face  and  arms  rides  on 
the  back  of  a  Garuda  with  turquoise  wings.  The  back  is 
filagreed  and  set  with  jewels. 

Tibetan.  Probably  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

162  GOLD  AND  JEWELED  ORNAMENT. 

In  the  shape  of  a  peacock. 
Tibetan. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

163  GOLD  AND  JEWELED  ORNAMENT. 

In  the  shape  of  a  peacock. 
Tibetan. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

164  GOLD  PENDANT. 

Repousse,  with  the  figure  of  a  deity  seated,  under  a  nine- 
headed  Naga  canopy,  on  the  back  of  a  Garuda  perched 
on  a  crescent.  Ornamented  with  seedpearls. 

Tibetan.  Probably  XVII  Century. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

165  GOLD  PENDANT. 

Tibetan.  Probably  XVII  Century. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

189 


THE  CLEVELAND  MUSEUM 

1 66  GOLD  CHARM  CASE. 

With  cords  for  suspension.  Repousse  in  conventional  pat- 
tern, and  set  with  a  relief  of  Ganesha  in  the  centre,  sur- 
rounded by  precious  stones. 

Tibetan. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

167  GOLD  CHARM  CASE. 

Encrusted  with  turquoise  and  other  precious  stones. 
Among  other  ornaments  are  four  heads  of  Garudas  in 
turquoise. 

Tibetan. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

168  GOLD  CHARM  CASE. 

Tibetan. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

169  VASE. 

Feldspar.  In  the  form  of  a  carp  and  waves. 
Chi'ng  Dynasty. 
Lent  by  Mr.  Michael  Dreicer. 

170  BOX. 

Jade.^ 

Ch'ing  Dynasty. 

Lent  by  Mr.  Michael  Dreicer. 

171  COVERED  VASE. 

Green  jade. 
Modern. 
The  Worcester  R.  Warner  Collection. 

172  MANDARIN'S  NECKLACE. 

Jade.  With  coral  and  metal  pendants. 
Modern. 
The  Worcester  R.  Warner  Collection. 


190 


GALLERY  XIV— JAPANESE  ART 


UNTIL  the  middle  of  the  Sixth  century  of  the  Christian  era 
Japan  had  no  art  worthy  of  mention.  In  the  year  552 
Buddhism  was  introduced  into  Japan  by  the  way  of  Korea 
and  with  it  the  arts  attendant  upon  that  rehgion.  These  were 
unquestionably  Chinese,  as  was  the  art  of  the  peninsula  through 
which  Japan  derived  them.  Not  that  Japan  to  a  great  extent  and 
Korea  to  a  much  lesser  did  not  modify  with  their  own  spirit  the 
parent  art,  but  that  as  each  successive  wave  of  inspiration  arose 
in  China  it  broke  with  more  or  less  force  upon  the  lands  to  the  East, 
always  leaving  its  mark  on  the  spirit  of  their  civiHzation. 

Thus  it  may  be  briefly  said  that  the  art  of  the  Suiko  era,  was 
that  of  Northern  Wei;  T'ang  influence  began  to  be  felt  in  Hakuho 
and  throughout  Tempyo,  Jogan  and  Fujiwara  was  the  dominant 
feature  in  all  the  arts.  It  was  gradually  absorbed  by  the  native 
genius  which  at  times  achieved  so  much  independence  of  its  teach- 
er that  though  the  inspiration  remained  Chinese  the  spirit  and  tech- 
nique in  which  it  manifests  itself  are  so  original  as  to  render  con- 
fusion of  the  styles  impossible.  Thus  the  great  art  of  the  Tosa 
school  has  little  that  we  can  identify  as  Chinese. 

By  the  end  of  the  Kamakura  period,  this  divergence  had  reached 
its  extreme,  when  the  arrival  from  China  of  the  Zen  sect  of  Budd- 
hism, with  its  attendant  styles  in  art, — the  landscape  painting  of 
Sung  in  especial, — once  more  submerged  the  budding  independence 
of  Japanese  artists. 

The  art,  pre-eminently,  of  Ashikaga,  that  of  the  Kano  school, 
was  avowedly  founded  upon  that  of  Sung.  Out  of  this  again  rose 
an  art  for  which  we  know  at  present  no  Chinese  exemplar,  that  of 
Yeitoku  and  the  still  more  original  school  of  Koyetsu. 

The  art  of  the  Ukiyoye,  which  reached  its  climax  in  the  Eigh- 
teenth century  under  the  Tokugawa  Shogunate,  was  another  which 
owed  nothing  to  the  Chinese. 

Except  in  the  Museum  of  Fine  Arts,  Boston,  Japanese  art  of 
earher  date  than  Kamakura  is  practically  not  to  be  seen  out  of 
Japan;  even  Kamakura  art  is  most  infrequent  in  Western  collec- 
tions. 


191 


THE  CLEVELAND  MUSEUM 

DATES  USED  IN  CLASSIFYING  JAPANESE  ART 


Nara 

About 

700-  800  A.  D. 

Heian 

(( 

800-  900 

Fujiwara 

(C 

900-1200 

Kamakura 

(C 

1 200- 1 400 

Ashikaga 

cc 

1 400- 1 600 

Toyotomi 

cc 

1 600- 1 700 

Tokugawa 

C( 

1 700- 1 8 50 

Meiji 

cc 

1 870-191 2 

1  KWANNON  BEARING  A  LOTUS. 

Wood.  Carved,  lacquered  and  gilt. 
Tempyo  Period. 
Lent  by  Mr.  Henry  Golden  Dearth. 

2  PAIR  OF  SIX-FOLD  SCREENS. 

In  color  on  paper.  Signed. 
Sotatsu.  Tokugawa  Period. 
Lent  by  Mr.  T.  Kuroda. 

3  PAINTING. 

In  color  on  paper.  Sacred  Shinto  Horses. 
Tosa  School. 
Lent  by  Mr.  Dikran  G.  Kelekian. 

4  PAINTING. 

In  ink  and  color  on  silk.  Rakan. 
Kamakura  Period. 
Lent  by  Mr.  Dikran  G.  Kelekian. 

5  PAINTING. 

Shaka  attended  by  Fugen  and  Monju;  in  ink  and  color, 
with  gold  outline  on  silk. 

Kamakura  style. 

Lent  by  Messrs.  Yamanaka  and  Company. 

6  PAINTING. 

In  ink  on  paper.  The  Dragon.  Kano  Hogai,  d.  i 
Meiji  Period. 
Lent  by  Mrs.  E.  E.  Fenollosa. 

192 


JAPANESE  ART 

7  STATUE  OF  YAKUSHI,  THE  BUDDHA  OF  HEAL- 
ING. 

Wood;  lacquered  and  gilt. 
Tokugawa  Period. 
The  Worcester  R.  Warner  Collection. 

8  TWO  BUDDHIST  LIONS  (SHISHI). 

and  Carved  wood  with  traces  of  color. 

9  Ascribed  to  Kamakura  Period. 
Lent  by  Mr.  T.  Kuroda. 

10  PAINTING. 

In  color  on  silk.  Yakushi  and  Ju-ni  Jinsho  (God  of  Healing 
and  twelve  warrior  kings).  The  central  figure  has  been 
slightly  repainted;  the  subsidiary  figures  are  drawn  in  the 
non-hierarchial  manner  introduced  from  China  during  the 
previous  century. 

Kyoto.  Late  Kamakura. 

Lent  by  Mr.  Joseph  B.  Warner. 

11  STATUE  OF  THE  FOUR-ARMED  KWANNON. 

Wood;  carved,  lacquered  and  gilt. 
Kamakura  Period. 
Lent  by  Messrs.  Yamanaka  and  Company. 

12  PAINTING. 

In  ink  and  color  on  silk.  Portrait  of  a  Buddhist  priest. 
Ashikaga  Period. 
Lent  by  Mr.  Dikran  G.  Kelekian. 

13  COLOSSAL  HEAD  OF  BUDDHA. 

Gilt  bronze. 

Lent  by  Messrs.  Yamanaka  and  Company. 

14  SIX-LEAVED  SCREEN.  NEW  YEAR'S  FESTIVAL. 

Color  on  gold. 

Shoi  School.  XVIII  Century. 
Lent  by  Mr.  Hervey  E.  Wetzel. 

15  PAINTING. 

In  color  on  paper.  Horseman. 
Tosa  School. 
Lent  by  Mr.  Dikran  G.  Kelekian. 

193 


THE  CLEVELAND  MUSEUM 

1 6  PAINTING. 

In  color  on  paper.  A  Lady.  Ukiyoye  School. 
Lent  by  Mr.  Dirkan  G.  Kelekian. 

17  TWO  KAKEMONO. 

In  color  on  silk.  Birds  and  flowers.  Kano  Utanosuke 
b.  1514.  d.  1575. 

Ashikaga  Period. 

The  Worcester  R.  Warner  Collection. 

18  HEAD  OF  A  BOSATSU. 

Dried  lacquer  ( Kanshitsu.) 
Ascribed  to  Tempyo  Period. 
Lent  by  Mr.  T.  Kuroda. 

19MAKIMONO. 

Full  color  and  gold  on  paper.  History  of  Kitano-Tenjin, 
by  Tosa  Mitsuyuki.  Extant  1356. 

Kamakura  Period. 

Lent  by  Messrs.  Yamanaka  and  Company. 

20  MAKIMONO. 

Full  color  on  paper,  Genre  subjects. 

In  the  "Yamato"  style  of  the  Kamakura  Period. 

Probably  Tokugawa  Period. 

Lent  by  Mr.  T.  Kuroda. 

21  INCENSE  BOX. 

Lacquer. 

Tokugawa  Period. 
Lent  by  Mr.  T.  Kuroda. 

22  BOX. 

Lacquer.  Decorated  outside  on  a  Mishima  (gold-dust) 
ground,  with  butterflies  and  ferns  in  gold  lacquer  and 
mother-o'-pearl  inlay;  on  the  tray  inside,  with  plum- 
blossoms  in  gold  lacquer. 

Early  Tokugawa  Period. 

The  Worcester  R.  Warner  Collection. 

23  STATUETTE  OF  KWANNON. 

Bronze. 

Lent  by  Mr.  T.  Kuroda. 

194 


JAPANESE  ART 

24  MIRROR. 

Bronze.  Eight-pointed  lobes.  Centre  ornamented  with  two 
birds  among  flowering  sprays;  border  of  conventional 
flower  and  wave  forms. 

Fujiwara  Period. 

Lent  by  Mr.  Hervey  E.  Wetzel. 

25  INK  STONE  AND  BOX. 

Wood  carved  and  lacquered. 
Ascribed  to  Kamakura  Period. 
Lent  by  Mr.  T.  Kuroda. 

26  HIDEHIRA  SUTRA. 

Buddhist  scripture  written  in  gold  and  silveron  blue  paper. 
Fujiwara  Period. 
Lent  by  Mr.  T.  Kuroda. 

27  TEA  JAR. 

Seto  ware. 

Lent  by  Mr.  T.  Kuroda. 

28  TEA  BOWL. 

Seto  ware. 

Lent  by  Mr.  T.  Kuroda. 

29  BOTTLE. 

Bronze. 

Korean.  Possibly  early  XVIII  Century. 
The  Worcester  R.  Warner  Collection. 

30  JAR  (CHIEN-YAO) 

Tenmoku  type. 

Lent  by  Mr.  T.  Kuroda. 

31  LONG  SWORD  (KATANA). 

By  Sukesune.  XV  Century. 
Lent  by  Prof.  F.  M.  Pedersen. 

32  LONG  SWORD  (KATANA). 

By  Tadatsune.  XVIII  Century. 
Lent  by  Prof.  F.  M.  Pedersen. 

33  SHORT  SWORD  (WAKIZASHI). 

By  Kanesada.  XV  Century. 
Lent  by  Prof.  F.  M.  Pedersen. 

195 


THE  CLEVELAND  MUSEUM 

34  SHORT  SWORD  (WAKIZASHI). 
By  Yasutzugu. 

Lent  by  Prof.  F.  M.  Pedersen. 

to  INRO  WITH  NETSUKE. 

47 

Gift  of  Mr.  D.  Z.  Norton. 

Inro  (medicine  cases)  were  popularly  used  during  Gen- 
roku  times,  1688-1703,  but  were  produced  in  quantities 
during  late  periods.  Like  the  sword  scabbards  they  dis- 
play the  different  processes  of  lacquer-making,  and  the 
best  workers  often  turned  their  hands  to  their  manufac- 
ture. These  shown  here  are  of  late  date,  but  are  nearly 
all  signed  with  the  name  of  the  maker. 

48  SWORD-GUARD  (TSUBA). 

Wrought  iron,  inlaid  with  gold.  Signed  Masafusa. 
Ito  School.  XVIII  Century. 
Gift  of  Mr.  J.  H.  Donahey. 

49  SWORD-GUARD  (TSUBA) 

Wrought  iron.  Signed  Tomonobu. 

Choshui  School.  Third  quarter  of  the  XVIII  Century. 
Gift  of  Mr.  J.  H.  Donahey. 

50  SWORD-GUARD  (TSUBA). 

Wrought  iron,  inlaid  with  gold.  Signed  Masakata. 
Ito  School.  Second  quarter  of  the  XIX  Century. 
Gift  of  Mr.  J.  H.  Donahey. 

51  HOUSE  SHOP. 

Pottery.  Awata  Ware. 
Lent  by  The  John  Herron  Art  Institute. 

52  MONKEY. 

Carved  wood. 

Ascribed  to  Kamakura  Period. 
Lent  by  Mr.  T.  Kuroda. 

53  COSTUME  FOR  THE  NO  DANCE. 

Silk  gauze  with  design  of  fans  and  wistaria  on  a  red  back- 
ground. 

The  Worcester  R.  Warner  Collection. 

196 


JAPANESE  ART 

54  COSTUME  FOR  THE  NO  DANCE. 

Gold  brocade,  with  design  of  peony  scrolls  on  a  red  back- 
ground. 

The  Worcester  R.  Warner  Collection. 

55  COSTUME  FOR  THE  NO  DANCE. 

The  kiri-flower  crest  on  a  gold  and  blue-green  background. 
The  Worcester  R.  Warner  Collection. 

56  COSTUME  FOR  THE  NO  DANCE. 

Design  of  fans   and  flowers   and   basketwork  on  a  red 
ground. 

The  Worcester  R.  Warner  Collection. 

57  COSTUME  FOR  THE  NO  DANCE. 

Design  of  aoi-flower  scrolls  on  a  grey-brown  ground. 
The  Worcester  R.  Warner  Collection. 

58  COSTUME  FOR  THE  NO  DANCE. 

Stencilled  designs  of  flowers  and  fret-work  on  a  red  ground. 
The  Worcester  R.  Warner  Collection. 

59  COSTUME  FOR  THE  NO  DANCE. 

Design  of  autumn  flowers  in  medallions,  and  basketwork, 
on  a  red  ground. 

The  Worcester  R.  Warner  Collection. 

60  COSTUME  FOR  THE  NO  DANCE. 

Gold  brocade.  Conventional  design  of  hghtning  and  floral 
medallions  on  a  purple  ground. 

The  Worcester  R.  Warner  Collection. 

61  COSTUME  FOR  THE  NO  DANCE. 

Gold  brocade  clouds  on  a  white  ground. 
The  Worcester  R.  Warner  Collection. 

62  COSTUME  FOR  THE  NO  DANCE. 

Check  pattern  with  pink  band  ornamented  with  white  mon. 
The  Worcester  R.  Warner  Collection. 

63  COSTUME  FOR  THE  NO  DANCE. 

Stencilled  design  of  conventionalized  fish-scales   in  gold 
on  blue. 
The  Worcester  R.  Warner  Collection. 

197 


THE  CLEVELAND  MUSEUM 

64  COSTUME  FOR  THE  NO  DANCE. 

Design  of  fans  and  flowers  and  conventionalized  lightning 
on  a  red  ground. 

The  Worcester  R.  Warner  Collection. 

es  PRIEST'S  ROBE  (KESA). 

Lent  by  Mr.  E.  G.  Kennedy. 

66  PRIEST'S  ROBE  (KESA). 

Lent  by  Mr.  E.  G.  Kennedy. 

67  PRIEST'S  ROBE  (KESA). 

Lent  by  Mr.  E.  G.  Kennedy. 

68  SCREEN  (RAMMA.) 

Lotus  and  wave.  Carved  wood. 
Tokugawa  Period.  XVI  century. 
Lent  by  Mr.  J.  Templeman  Coolidge. 

69  SCREEN  (RAMMA.) 

Birds  and  waves.    Carved  wood. 
Tokugawa  Period.   1700  A.D. 
Lent  by  Mr.  J.  Templeman  Coolidge. 

70  SWORD  GUARD  (TSUBA) 

Wrought  Iron. 
Lent  by  Mr.  Langdon  Warner. 

71  PLACQUE. 

Terra-cotta.  Colored.  On  one  side,  in  high  relief,  Gokei- 
Monju,  seated  on  a  lotus  throne  between  two  standing 
Bosatsu;  on  the  other  a  Sanscrit  character  on  a  lotus. 

Fujlwara  Period. 

The  Worcester  R.  Warner  Collection. 


SEE  ALSO  THE  FOLLOWING  OBJECTS  SHOWN  IN  GALLERY  XI. 
1-26  Spaulding  Collection  of  Prints. 

27  Statue  of  Amida. 

28  Head  Dress  for  No  Dance. 
29-30  Temple  Ornaments.    (Kenman) 

31   Screen.    (Ramma) 

198 


GALLERY  XV— ANCIENT  EGYPTIAN  ART 


rj^i 


1 


iHE  strides  made  within  recent  years  in  the  science  of  Egypt- 
ology, have  made  possible  an  accuracy  in  the  classification 
and  dating  of  objects  excavated  which  was  undreamt  of  even 
by  our  immediate  predecessors. 

It  is  now  realized  that  so  far  back  as  any  civilization  existed  in 
the  Nile  Valley,  it  was  much  of  the  same  type  as  in  the  historic 
period.  The  river  and  its  periodic  rise  and  fall  have  always  domi- 
nated the  habits  of  the  inhabitants.  Isolated  by  the  deserts  about 
them,  they  have  always  as  now,  looked  to  the  Nile  for  their  very 
existence.  Consequently  the  earliest  peoples  of  whom  we  find  traces, 
were  agricultural,  herdsmen,  and  to  a  limited  extent  huntsmen.  The 
river  afforded  them  the  easiest  means  of  intercourse,  so  that  they 
have  always  been  boatmen  too.  Their  origin  is  as  yet  undeter- 
mined, but  it  is  reasonably  certain  that  somewhere  about  4000 
B.C.  a  race  related  to  the  Berbers  of  North  Africa  was  in  occupation 
of  the  country  throughout  its  length.  It  is  evident  from  their  re- 
mains that  they  had  passed  well  beyond  the  primitive  stage  in  most 
of  the  arts  of  life.  In  their  arts  and  crafts  they  have  always  been 
skilled  stone-workers;  the  neolithic  flints  of  the  Predynastic  Egyp- 
tians present  us  with  the  most  accomplished  technique  in  that  craft 
known  throughout  the  world,  while  their  slate  palettes,  though 
more  primitive  in  design,  are  as  finely  worked  as  the  sculptures  of 
their  successors.  They  wove  linen,  their  handmade  pottery  was  not 
excelled,  often  not  equalled  by  that  of  later  periods  in  Egypt,  and 
they  had  progressed  to  the  use  of  glaze  in  the  peculiarly  Egyptian 
manner.  They  had  even  acquired  the  art  of  working  metal,  both 
copper  and  gold  objects  having  been  found,  but  as  has  been  said 
most  of  their  implements  and  weapons  were  of  finely  worked  flints, 
or  rather  chert.  On  their  painted  pottery  we  find  a  type  of  ship  dis- 
tinctly foreshadowing  those  of  the  historic  period,  with  what  are 
believed  to  be  tribal  standards,  corresponding  in  a  marked  degree 
with  later  objects  of  the  same  class. 

By  the  latter  part  of  the  period  the  country  had  been  divided 
into  the  North  and  South  Kingdoms,  the  union  of  which,  under 
Menes,  marks  the  beginning  of  the  Dynastic  era,  about  3400  B.C. 
The  Pharaohs  thereafter  wore  a  double  crown,  known  as  the 
**pshent",  and  bore  the  title  of  King  of  Upper  and  Lower  Egypt. 

199 


THE  CLEVELAND  MUSEUM 

The  chronology  of  the  earHer  dynasties  is  still  a  matter  of  dis- 
cussion, Prof.  Flinders  Petrie  placing  the  beginning  of  the  early 
Dynastic  era  more  than  two  thousand  years  earlier  than  Breasted, 
whose  more  conservative  estimate  is  now  generally  accepted,  at 
any  rate,  by  American  Egyptologists. 

That  a  very  high  pitch  of  culture  must  have  obtained  in 
the  Predynastic  period,  is  evident  from  the  rapid  rise  of  the  arts 
under  the  early  dynasties.  It  is  notable  that  the  characteristic  stone 
vessels  are  made  of  harder  materials,  and  with  greater  skill  in  the 
Predynastic  period  than  at  any  later  time. 

With  the  III  Dynasty,  about  2980  B.C.,  the  period  known  as 
the  Old  Kingdom  begins.  It  is  also  called  the  Pyramid  age,  since 
it  was  at  this  time  that  those  colossal  monuments  were  erected. 

During  the  IV  and  V  Dynasties  2900-2625  B.C.,  Egyptian  cul- 
ture reached  its  climax.  The  arts  were  perfected  to  a  degree  which 
was  seldom,  if  ever,  surpassed  in  later  times.  By  2475  B.C.  the 
power  of  the  Kingdom  had  been  subverted  by  the  increase  of  in- 
dependence of  the  provincial  governors,  and  a  period  of  about  three 
hundred  years  of  disorganization  followed,  known  as  the  Inter- 
mediate, about  2475  to  2150  B.C.  We  have  names  of  kings  and 
dynasties,  but  no  historical  evidence  of  their  accuracy,  and  no 
works  of  art  to  show  the  state  of  civilization  until  quite  towards 
the  end  of  the  period. 

About  2160  the  Theban  overlord,  Antef,  founded  the  XI 
Dynasty,  and  with  it  the  era  known  as  that  of  the  Middle  Kingdom, 
but  it  was  not  until  Amenemhat,  the  first  king  of  the  XII  Dynasty, 
about  2000  B.C.,  moved  the  capital  northward  to  a  place  near 
Memphis,  that  the  Middle  Kingdom  was  firmly  established,  and 
Egypt  entered  on  one  of  the  most  prosperous  periods  of  its  history. 
Engineering  took  great  strides,  and  by  a  system  of  canals,  the 
annual  rise  of  the  Nile  was  controlled,  to  the  great  benefit  of  agri- 
culture. The  arts  of  this  flourishing  dynasty  bear  witness  to  the 
general  prosperity,  but  curiously  enough,  notwithstanding  one  or 
two  sporadic  but  ephemeral  attempts  at  progress  in  the  preceding 
dark  ages,  the  artists  of  the  Middle  Kingdom  deliberately  reverted 
to  archaism,  and  adhered  with  the  utmost  pains  to  Old  Kingdom 
models. 

Nevertheless,  technically  their  work  was  more  highly  finished 
than  that  of  the  earlier  men.  In  certain  departments,  jewelry  for 
instance,  nothing  before  or  since,  in  Egypt,  equals  the  beauty  of 
that  made  at  this  time.  Another  period  of  darkness  covered  by  the 

200 


ANCIENT  EGYPTIAN  ART 

XIII  to  the  XVII  Dynasties,  1788-1588  B.C.,  intervened.  In  the 
XVII,  particularly  under  Senusert  I,  the  great  Sesostris  of  Greek 
legend,  the  Egyptians  had  for  the  first  time  carried  their  arms 
beyond  their  own  frontiers,  both  into  Nubia  and  Syria;  as  a  not 
unnatural  consequence,  she  was  invaded  in  her  turn,  and  from 
about  1700  Egypt  was  subjected  to  the  aHen  rule  of  the  Hyksos 
Kings,  whose  identity  is  still  uncertain. 

In  1580  B.C.  Ahmes  of  Thebes  succeeded  in  throwing  off  the 
foreign  yoke,  and  founded  the  next  great  Dynasty,  the  XVIII,  and 
with  it,  the  Empire,  as  it  is  justly  called,  for  during  this  time  Egypt 
became  a  power  in  the  Eastern  world,  extending  her  conquests  far 
to  the  South  up  the  Nile,  through  Syria,  perhaps  to  the  Taurus 
mountains,  over  a  great  part  of  the  Eastern  Mediterranean,  and  as 
far  East  as  to  the  Euphrates,  where  she  came  into  conflict  with  the 
Kings  of  Babylon.  The  greatest  king  of  this  dynasty,  Thothmes 
III,  was  famous  throughout  the  ancient  world  as  a  conqueror. 

One  result  of  these  foreign  wars  was  an  enormous  increase  in 
the  intercourse  and  trade  with  other  lands;  nevertheless,  Egypt  re- 
mained a  closed  land,  and  her  arts  reflect  httle  foreign  influence. 
Once  more  she  turned  in  upon  herself,  and  the  arts  of  the  XVIII 
Dynasty  so  closely  reflect  those  of  the  XII,  that  it  is  occasionally 
difficult,  even  for  authorities,  to  decide  to  which  of  the  two  periods 
a  work  of  art  belongs.  Wealth,  however,  became  greater,  and  the 
major  portion  of  the  spoils  naturally  enough  fell  to  the  King's 
share,  so  that  the  monuments  became  larger  and  more  magnificent 
than  ever  before.  Thebes  was  once  again  the  capital,  and  the  great 
temples  of  Luxor  and  Karnak  bear  witness  to  the  splendor  of  the 
kings  of  the  XVIII  Dynasty,  and  not  only  to  the  power  of  the 
monarchs,  but  to  that  of  the  priesthood,  whom  they  fostered,  and 
to  whom  at  length  they  became  almost  as  subject  as  the  mediaeval 
emperors  were  to  the  Papacy. 

A  reaction  took  place  when  Amenhotep  IV  founded  a  mono- 
theistic religion,  and  abandoned  Thebes  for  a  new  capital  which  he 
built  at  Tel-el-Amarna,  where  have  been  found  some  of  the  most 
beautiful  and  original  of  all  Egyptian  works  of  art.  This  led  to  the 
downfall  of  the  Dynasty,  and  indeed  of  the  bulk  of  the  Empire. 
Weakened  by  internal  discord,  it  crumbled  before  the  revolt  of  one 
province  after  another,  and  the  raids  of  surrounding  tribes,  and  al- 
though the  last  King  submitted  to  the  outraged  priesthood  of 
Amon,  who  finally  placed  their  own  nominee  on  the  throne,  the 
glorious  XVIII  Dynasty  came  to  an  end  in  13 15  B.C. 

201 


THE  CLEVELAND  MUSEUM 


The  XIX  Dynasty,  the  Ramessid,  opened  somewhat  more 
prosperously,  and  the  third  King  Rameses  II,  succeeded  in  re- 
covering Phoenicia,  parts  of  Syria,  and  Mesopotamia,  but  was  pre- 
vented from  further  conquest  by  the  rising  power  of  the  Hittites  in 
Asia  Minor.  Foreigners  now  began  to  settle  in  the  land,  and  the 
people  were  priest-ridden.  Finally  a  High  Priest  of  Amon,  Herhon, 
seized  the  throne  in  Thebes,  and  the  XXI  Dynasty  was  one  of 
Priest-Kings.  The  art  of  the  end  of  the  XVIII  and  of  the  Dynasties 
immediately  following,  was  to  some  extent,  for  the  first  time,  affected 
by  that  of  foreign  countries,  with  the  result  shown  in  the  dis- 
coveries at  Tel-el-Amarna,  just  mentioned,  although  the  natural- 
istic tendency,  and  the  foreign  influence,  have  made  themselves 
felt  in  the  previous  reign.  Settlers  from  Lybia  and  Ethiopia  had  in- 
creased in  numbers  until  in  the  XXII  to  the  XXV  Dynasties,  945- 
662  B.C.,  they  were  able  to  make  themselves  Pharaohs. 

The  XXVI  saw  a  restoration  of  Egyptian  monarchs,  and  is 
known  as  the  Saite  Dynasty,  from  their  capital  city,  Sais. 

The  Greek  states  now  becoming  powerful  sent  both  mer- 
cenaries to  serve  in  the  Egyptian  army  and  merchants  to  sell 
Greek  wares,  yet  once  again  we  find  the  truly  Egyptian  phenom- 
enon of  a  revival  of  art  and  learning  driving  her  people  back  into 
the  past;  Saite  art  is  as  archaistic  as  was  that  of  the  XII  and  XVIII 
Dynasties.  Under  the  XXVII,  however,  Egypt  finally  lost  her 
freedom.  The  Persians  under  Cambyses  conquered  the  land  in  525 
B.C.,  and  though  a  partial  emancipation  was  effected  during  the 
XXVIII  Dynasty,  it  was  again  forever  obliterated  by  Alexander 
in  2^2  B.C.  His  general,  Ptolemy,  became  the  ruler,  when  Alex- 
ander's empire  was  divided  at  his  death,  and  his  successors  reigned 
until  30  B.C.,  when  Julius  Caesar  made  Egypt  a  Roman  province. 
A  certain  amount  of  Greek  influence  made  itself  increasingly  felt 
in  the  arts,  but  it  was  not  until  the  Roman  period  that  it  became 
in  any  sense  dominant.  Even  at  that  time  the  religious  side  of  art 
remained  strongly  Egyptian  and  with  the  cult  of  Isis  much  work 
with  this  marked  character  was  exported  to  Rome  where  it  is  fre- 
quently excavated  at  the  present  day. 


202 


ANCIENT  EGYPTIAN  ART 


DATES  OF  THE  EGYPTIAN  DYNASTIES 

Based  upon  the  chronology  of  Prof.  J.  H.  Breasted. 

Pre-Dynastic  Period  4000-3400  B.C 

Accession  of  Menes  and  Begin- 
ning of  Dynasties 

I  and  II  Dynasties 

III  Dynasty 

IV  Dynasty 

V  Dynasty 

VI  Dynasty 

Intermediate  fVII  and  VIII  Dynasties 

Period  [IX  and  X  Dynasties 


Old  Kingdom 


Middle  Kingdon.  jii%ri. 


Hyksos 


The  Empire 


Saite  Period 


XIII-XVII  Dynasties 

XVIII  Dynasty 

XIX  Dynasty 

Interim 

XX  Dynasty 

XXI  Dynasty 

XXII  Dynasty 

XXIII  Dynasty 

fXXIV  Dynasty 

XXV  Dynasty 

XXVI  Dynasty 
Persian  Conquest  of  Egypt 

XXVII  and  XXVIII  Dynasties  525 

XXIX  Dynasty  398 

XXX  Dynasty  378 

Ptolemaic  Period  332 

Roman  Period  30  B.C. 

Byzantine  Period  364 
Arab  Conquest  of  Egypt 


3400- 
2980- 
2900- 
2750. 
2625- 

2475- 
2445. 

2i6o- 
2000- 

1788- 
1580- 

1205- 

I200- 
1090- 

945- 

745- 
718. 
712. 
663- 


3400 

■2980 

-2900 
.2750 
■2625 

■2475 


.2445 
2160 


•2000 
1788 

1580 

■1315 

■1205 
•1200 
1090 

•  945 

•  745 
.718 

•  712 

■  663 

■  525 

•338 

•  379 
■341 

•  30 

•  364  A. 

•  640 
640 


D. 


203 


THE  CLEVELAND  MUSEUM 

1  PORTRAIT  HEAD. 

Granite.  The  Urseus,  or  Sacred  Serpent,  on  the  brow  de- 
notes a  royal  personage. 

The  John  Huntington  Collection. 

2  STELE. 

Stone. 

The  John  Huntington  Collection. 

3  SCULPTURAL  FRAGMENT. 

Face  in  low  relief. 

The  John  Huntington  Collection. 

4  CANOPIC  JARS. 

and  Limestone. 

5  "Canopic"  jars,  as  they  are  called,  through  a  misunder- 
standing on  the  part  of  the  early  Egyptologists,  are  a 
kind  of  subsidiary  coffins,  since  they  were  for  the  pur- 
pose of  containing  the  vital  organs  which  were  removed 
before  mummification  and  preserved  separately.  They 
were  always  four  in  number,  dedicated  to  the  four 
sons  of  Horus,  Amset,  Hapi,  Duamutef  and  Kebehsenuf, 
under  whose  protection  different  portions  of  the  viscera 
were  placed.  From  the  XIX  Dynasty  on  the  heads  of  the 
four  gods  were  placed  on  the  covers  of  the  jars.  These  two 
bear  the  human  head  of  Amset. 

The  John  Huntington  Collection. 

6  SCULPTURED  FRAGMENT. 

From  an  interior  wall.  Limestone  head  cut  in  low  relief. 
The  John  Huntington  Collection. 

7  BOX  FOR  TWO  CANOPIC  JARS. 

The  John  Huntington  Collection. 

8  FUNERARY  BOAT. 

Bearing  figures  and  objects  necessary  for  the  journey  of 
the  deceased  to  the  other  world. 

Wooden  models  of  houses,  boats  with  their  crews,  serv- 
ants busy  with  domestic  work,  etc.,  were  placed  in  the 
tombs  as  early  as  the  XI  Dynasty  to  ensure  to  the  de- 
ceased a  continuance  of  the  activities  of  his  past  life  in 
that  to  come. 

The  John  Huntington  Collection. 

204 


ANCIENT  EGYPTIAN  ART 

9  SCRIBE'S  PALETTE. 

Wood  with  holes  for  color,  and  covered  receptacle  for  reed 
brushes.  Incised  with  scales  and  measures. 

Said  to  be  from  Kitekas. 

The  John  Huntington  Collection. 

10  PAINTER'S  PALETTE. 

Wood.  With  colors  still  remaining  in  circular  depressions. 
The  John  Huntington  Collection. 

11  BOW. 

Wood.  Probably  ceremonial.  Has  been  broken  in  halves  as 
a  religious  rite  at  the  funeral. 
The  John  Huntington  Collection. 

12  ARROW  SHAFTS. 

Wood. 

The  John  Huntington  Collection. 

13  FUNERARY  MODEL  OF  A  STOOL. 

The  John  Huntington  Collection. 

14  CYLINDRICAL  POT. 

Bronze  or  copper;  gilt. 

The  John  Huntington  Collection. 

15  BOWL. 

Bronze  or  copper.  Colored  red  and  gilt.  Rounded  bottom, 
flaring  mouth.  These  vessels  were  hammered,  not  cast 
nor  spun. 

The  John  Huntington  Collection. 

16  STATUETTE. 

Bronze.  The  god  Ptah  holding  the  whip,  staff  and  scepter. 
Bronze  statuettes  were  in  earlier  times  cast  hollow  by  the 
cire-perdue  process;  as  the  art  declined  they  were  cast  solid. 
The  John  Huntington  Collection. 

17  FISH. 

Bronze. 

The  John  Huntington  Collection. 

18  STATUETTE. 

Bronze.  Seated  figure. 

The  John  Huntington  Collection. 

205 


THE  CLEVELAND  MUSEUM 

19  STATUETTE. 

Bronze;  gilt.  Seated  figure. 

The  John  Huntington  Collection. 

20  STATUETTE. 

Basalt.  Standing  figure  holding  whip  in  each  hand.  In- 
scription down  the  front  of  skirt  and  around  the  lower  part. 
The  John  Huntington  Collection. 

21  FUNERARY  STATUETTE. 

Wood.  Draped  figure. 

The  John  Huntington  Collection. 

22  STATUETTE. 

Wood.  Funerary  figure  of  a  woman. 
The  John  Huntington  Collection. 

23  STATUETTE. 

Wood.  Funerary  figure  of  a  servant,  carrying  a  duck, 
with  a  square  basket  on  her  head. 
The  John  Huntington  Collection. 

24  STATUETTE. 

Wood.  Black-haired  funerary  figure.  Red  face,  and  whitish 
body  representing  his  clothing. 
The  John  Huntington  Collection. 

25  VOTIVE  CAT. 

Wood.  Sacred  to  the  god  Pasht  or  Bast. 
The  John  Huntington  Collection. 

26  FISH. 

Bronze. 
The  John  Huntington  Collection. 

27  SCULPTURAL  FRAGMENT. 

Hand  and  feathers.  Part  of  the  garment  of  a  goddess. 
The  John  Huntington  Collection. 

28  SCULPTURAL  FRAGMENT. 

Bust  of  a  female  figure.  On  the  reverse  the  snout  of  an 
animal. 
The  John  Huntington  Collection. 

29  STATUETTE. 

Wood.  Funerary  figure  of  a  woman;  arms  missing.  Traces 
of  white. 

The  John  Huntington  Collection. 

206 


ANCIENT  EGYPTIAN  ART 

30  STATUETTE. 

Wood.  Funerary  figure  of  a  man. 
The  John  Huntington  Collection. 

31  HATHOR-HEADED  CAPITAL. 

Limestone.  Perhaps  a  sculptor's  model  or  the  work  of  a 
student. 

Saite  or  Ptolemaic. 

The  John  Huntington  Collection. 

32  USHABTI  BOX. 

Containing  seventy-one  whole  and  many  broken Ushabtiu. 
The  John  Huntington  Collection. 

USHABTIU. 

33  USHABTI. 

Glazed  frit.  Bright  blue,  with  black  markings  and  in- 
scription down  the  front. 

Ushabti  (pi.  Ushabtiu),  meaning  "answerers"  to  the  bid- 
ding of  the  deceased,  was  the  name  given  to  figures  placed 
in  the  tombs,  often  in  great  numbers,  to  do  for  him  such 
services  as  should  be  imposed  upon  him  by  the  gods  of  the 
underworld.  As  might  be  expected,  they  have  been  found 
in  greater  numbers  than  almost  any  other  product  of  that 
ancient  civilization,  beads  alone  excepted.  Examples  exist 
in  stone,  bronze,  wood,  clay,  glazed  pottery,  wax,  etc. 
The  fashion  of  making  them  of  Faience  seems  to  have 
sprung  up  in  the  XIX  Dynasty.  The  Ramesside  Ushabtiu 
were  usually  green  with  black  inscriptions;  more  rarely 
with  white.  In  the  XXI  Dynasty  they  were  of  an  intense 
blue  with  purple-black  inscriptions,  and  very  roughly 
made.  They  deteriorated  throughout  this  dynasty.  In  the 
XXII  and  XXIII  Dynasties  they  were  small,  and  usually 
green  with  black  inscriptions.  In  the  XXV  they  were  red 
pottery  merely  dipped  in  a  blue  wash,  or  even  of  mud. 
Under  the  XXVI  Dynasty  a  new  type  appeared — large, 
beautifully  modeled  figures,  some  as  much  as  ten  inches 
high,  with  incised  inscriptions,  black  pillars  and  beards; 
always  green  glazed.  These  deteriorated  down  to  Ptole- 
maic times,  though  there  was  a  brief  interval  under  Nec- 
tanebo  of  the  XXX  Dynasty,  when  some  fine  brilliant 
blue  ones  with  inscriptions  were  made.  Those  made  of 
other  materials  seem   to  have  been  used  contempora- 

207 


THE  CLEVELAND  MUSEUM 

neously  with  the  glazed  ones,  although  there  are  a  few  of 
stone  in  the  British  Museum,  of  the  VI  Dynasty,  the  XI 
and  XII.  There  are  several  of  wood,  and  a  good  one  of 
limestone,  in  our  collection. 

The  John  Huntington  Collection. 

34USHABTI. 

Glazed  frit.  Greenish  glaze  with  reddish  markings  and  in- 
scription down  the  front. 

The  John  Huntington  Collection. 

35USHABTI. 

Glazed  frit.  Light  blue,  with  incised  inscriptions  round 
body  and  on  the  back. 

The  John  Huntington  Collection. 

36  USHABTI. 

Glazed  frit.  Blue,  with  purple  markings. 
The  John  Huntington  Collection. 

37  USHABTI. 

Glazed  frit.  Cream-colored  glaze  with  brownish  markings 
and  inscriptions  round  body.  Reddish  glaze  on  hands  and 
face. 

The  John  Huntington  Collection. 

38  USHABTI. 

Glazed  frit.  Whitish,  with  purple  markings  and  inscrip- 
tions down  the  front.  Reddish  glaze  on  hands,  feet  and 
face. 

The  John  Huntington  Collection. 

39  USHABTI. 

Glazed  frit.  Cream-colored  glaze  with  brownish  markings 
and  inscriptions  round  body.  Reddish  glaze  on  hands 
and  face. 

The  John  Huntington  Collection. 

40  USHABTI. 

Pottery.  Unglazed,  with  traces  of  inscription  down  the 
front  and  covered  with  white.  No  feet. 
The  John  Huntington  Collection. 

208 


ANCIENT  EGYPTIAN  ART 

41  USHABTI. 

Pottery.   Unglazed   and  colored  red,   black  and  white. 
Traces  of  inscriptions  down  the  front,  and  of  wrappings. 
Said  to  be  from  the  Monkey  Tomb. 
The  John  Huntington  Collection 

42  USHABTI. 

Pottery.  Unglazed  and  colored  red,  yellow,  black  and 
white.  Crowned  figure  with  whip  and  sceptre.  Said  to  be 
from  the  Monkey  Tomb. 

The  John  Huntington  Collection. 

43  MOULDS. 

Stone.  For  an  ushabti  and  a  bird  amulet. 
The  John  Huntington  Collection. 

44  LION  HEAD. 

Granite. 

Lent  by  M.  Paul  Mallon. 

45  DISH. 

Alabaster. 

Even  in  pre-Dynastic  times  the  Egyptians  made  these 
vessels,  and  those  of  that  date  and  of  the  earlier  dynasties 
are  the  finest  in  execution  and  are  made  of  the  hardest 
materials.  They  were  cut  entirely  by  hand  and  not  turned 
on  a  lathe.  By  the  XII  Dynasty  nothing  but  the  soft  and 
easily  worked  alabaster  was  used,  with  very  rare  ex- 
ceptions. 

The  John  Huntington  Collection. 

46  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

47  OBJECT  OF  UNCERTAIN  USE. 

Alabaster.  Possibly  for  pressing  the  fine  plaits  of  linen 
garments. 

The  John  Huntington  Collection. 

48  BOWL. 

Green  slate. 

The  John  Huntington  Collection. 

209 


THE  CLEVELAND  MUSEUM 

49  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

50  BOWL. 

Diorite. 

The  John  Huntington  Collection. 

51  VASE. 

Alabaster. 

The  John  Huntington  Collection. 

52  VASE  WITH  COVER. 

Alabaster. 

The  John  Huntington  Collection. 

53  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

54  VASE. 

Alabaster. 

The  John  Huntington  Collection. 

55  BOWL. 

Diorite. 
The  John  Huntington  Collection. 

56  KOHL  POT. 

Alabaster. 

The  John  Huntington  Collection. 

57  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

58  LIBATION  TABLE. 

Granite,  on  which  are  sculptured  offerings  of  meat  and 
drink. 

These  tables  were  placed  in  the  vestibules  of  the  tombs 
before  the  false  door  and  libation  offerings  were  poured 
on  them. 

The  John  Huntington  Collection. 

59  PALETTE. 

Slate.  In  form  of  a  fish. 

The  John  Huntington  Collection. 

210 


ANCIENT  EGYPTIAN  ART 

60  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

61  JAR-SHAPED  VASE. 

Limestone. 

The  John  Huntington  Collection. 

62  JAR. 

Alabaster. 

The  John  Huntington  Collection. 

63  BOWL. 

Diorite. 
The  John  Huntington  Collection. 

64  BOWL. 

Limestone. 

The  John  Huntington  Collection. 

65  VASE. 

Alabaster.  Elongated  diamond  design  incised  on  the  sur- 
face in  double  lines. 

The  John  Huntington  Collection. 

66  BOWL. 

Diorite. 
The  John  Huntington  Collection. 

67  BOWL. 

Diorite. 
The  John  Huntington  Collection. 

68  BOWL. 

Green  slate. 

The  John  Huntington  Collection. 

69  DISH. 

Alabaster.  In  shape  of  a  clam  shell. 
The  John  Huntington  Collection. 

70  PILLOW. 

Alabaster.  Inscription  on  plinth. 
The  John  Huntington  Collection. 

211 


THE  CLEVELAND  MUSEUM 

71  PITCHER  WITH  COVER. 

Alabaster. 

The  John  Huntington  Collection. 

72  RUBBING  STONE  AND  PESTLE. 

Basalt.  To  be  held  in  the  hand  while  grinding  color. 
The  John  Huntington  Collection. 

73  KOHL  POT. 

Alabaster. 

The  John  Huntington  Collection. 

74  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

75  JAR.  . 

Diorite. 
The  John  Huntington  Collection. 

76  KOHL  POT. 

Diorite. 
The  John  Huntington  Collection. 

77  FUNERARY  TABLE. 

Diorite. 
The  John  Huntington  Collection. 

78  BOWL. 

Diorite. 
The  John  Huntington  Collection. 

79  BOWL. 

Silica. 
The  John  Huntington  Collection. 

80  SCULPTURAL  FRAGMENT. 

Limestone.  Bas-relief.  Two  female  figures  playing  musical 
instruments;  between  them  a  tripod  stand. 
The  John  Huntington  Collection. 

81  STATUETTE. 

Gold.  The  god  Chnemu.  Ram-headed. 
Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

212 


ANCIENT  EGYPTIAN  ART 

82  HEAD. 

Basalt.  The  sacred  Uraeus  denotes  a  royal  personage. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

83  PORTRAIT  BUST. 

Granite.  Head  and  shoulders  of  a  man,  with  inscription 
down  the  back. 

The  John  Huntington  Collection. 

84  PORTRAIT  STATUETTE. 

Stone.  Seated  figure,  with  inscription  down  the  front. 
The  John  Huntington  Collection. 

85  SHALLOW  PLATE. 

Alabaster. 

The  John  Huntington  Collection. 

86  BOWL. 

Alabaster. 

The  John  Huntington  Collection. 

87  MUMMY  CASE  AND  COVER  OR  INNER  COFFIN. 

Painted  within  and  without  with  hieroglyphics  and  scenes 
referring  to  the  fate  of  the  deceased  in  the  next  world. 
Probably  of  late  period. 

The  John  Huntington  Collection. 

88  LINTEL. 

From  the  false  door  of  a  tomb,  through  which  the  occu- 
pant was  supposed  to  pass  in  and  out. 

From  Thebes. 

The  John  Huntington  Collection. 

89  COFFIN. 

Rectangular.  Painted  with  hieroglyphics. 
Perhaps  XI  or  XII  Dynasty. 
The  John  Huntington  Collection. 

90  FIGURE  OF  PTAH-SEKER-AUSAR. 

Wood. 

This  god  was  supposed  to  be  especially  connected  with 
the  Resurrection.  The  figures  or  their  pedestals  were  fre- 
quently hollow  and  contained  papyri  of  prayers  and  chap- 
ters from  the  Book  of  the  Dead. 

The  John  Huntington  Collection. 

213 


THE  CLEVELAND  MUSEUM 

91  MUMMY  CASE  AND  COVER,  OjR  INNER  COFFIN. 

Painted  within  and  without  with  hieroglyphics  and  scenes 
referring  to  the  fate  of  the  deceased  in  the  next  world. 
Probably  of  late  period. 

The  John  Huntington  Collection. 

92  FOUR  CANOPIC  JARS. 

93  Pottery,  unglazed.  Painted  in   black  with  hieroglyphics 

94  and  drawings  of  the  funeral  gods.  Two  of  them  have  the 

95  jackal  of  Duamutef  on  the  covers. 

After  XXI  Dynasty.  570  B.C. 
The  John  Huntington  Collection. 

96  JAR. 

Pottery.  Unglazed.  Handles  and  heavy  wheel-marks 
around  the  body. 

Probably  Roman  Period. 

The  John  Huntington  Collection. 

97  JAR. 

Pottery.  Unglazed.  Decorated  with  conventional  design 
in  red  round  shoulder.  Flattened  base.  Pierced  bosses  for 
handles. 

Late  Pre-Dynastic. 

The  John  Huntington  Collection. 

98  FUNERARY  VESSEL. 

Pottery.  Grey  ware.  Pointed  bottom,  bulbous  body  and 
small  neck. 

XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

99  VASE. 

Pottery.  Red  ware.  Ovoid  form,  of  smooth,  uniformly 
colored  clay. 

From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

100  JAR. 

Pottery.  Unglazed.  Decorated  with  lines  of  black,  red  and 
blue  color,  and  a  face  in  relief  on  the  neck. 

Ptolemaic  or  Roman. 

The  John  Huntington  Collection. 

214 


ANCIENT  EGYPTIAN  ART 

loi  FUNERARY  VESSEL. 

Pottery.  Red  ware.  Ovoid  shape. 
From  Harageh.  XII  Dynasty. 
Gift  of  the  British  School  of  Archaeology  in  Egypt. 

102  FUNERARY  VESSEL. 

Pottery.  Buff  ware. 

From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

103  FUNERARY  VESSEL. 

Pottery.  Red  ware.  Pointed  ovoid  shape. 

XI  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

104  FUNERARY  VESSEL. 

Pottery.  From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

105  FUNERARY  VESSEL. 

Pottery.  Red  ware. 

From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

106  FUNERARY  VESSEL. 

Pottery.  Red  ware.  Gourd-shaped. 
From  Harageh.  XII  Dynasty. 
Gift  of  the  British  School  of  Archaeology  in  Egypt. 

107  FUNERARY  VESSEL. 

Pottery.  Red  ware.  Club-shaped. 

XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

108  FUNERARY  VESSEL. 

Pottery.  Red  ware.  Saucer.   Flaring  sides  with  unevenly 
turned  edge. 

From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

109  FUNERARY  VESSEL. 

Pottery.  Red  ware.  Handles  on  shoulders. 
After  the  XIX  Dynasty  [?] 
Gift  of  the  British  School  of  Archaeology  in  Egypt. 

215 


THE  CLEVELAND  MUSEUM 

I  lo  FUNERARY  VESSEL. 

Pottery.  Pitcher.  Decorated  with  black  stripes  tapering 
toward  the  bottom. 

XIII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

111  FUNERARY  VESSEL. 

Pottery.  Red  ware. 

From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

112  FUNERARY  VESSEL. 

Pottery.  Red  ware. 
XIII  Dynasty. 
Gift  of  the  British  School  of  Archaeology  in  Egypt. 

113  JAR. 

Pottery.  Unglazed.  Decorated  in  red  with  conventional- 
ized palm  trees,  boats  and  tribal  standards. 

From  Harageh.  Late  Pre-Dynastic  period. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

114  POTTERY. 

Polished  red  ware,  in  form  of  leather  bag. 
The  John  Huntington  Collection. 

1 15  BOX  AND  COVER. 

Glazed  frit.  Green-blue,  decorated  with  fine  drawings 
of  flying  birds  and  reeds  in  brown. 

This  peculiarly  Egyptian  process  was  known  in  prehis- 
toric times,  and  was  used  in  the  earliest  days  of  the  mon- 
archy, even  for  architectural  purposes;  walls  were  faced 
with  large  tiles  of  it.  In  the  XVIII  Dynasty  it  reached  its 
most  brilliant  development.  The  body  of  the  ware  is  a 
finely  ground  silica,  held  together  by  the  glaze  on  its  sur- 
face. 

The  John  Huntington  Collection. 

116  BOWL. 

Glazed  frit.  Green-blue.  Decorated  with  fine  drawings  of 
birds  and  reeds  in  brown. 
The  John  Huntington  Collection. 

216 


ANCIENT  EGYPTIAN  ART 

117  FRAGMENT. 

Glazed  frit.  Greenish.  Border  of  tet,  staff  and  ankh  design. 
The  John  Huntington  Collection. 

118  DISC. 

Glazed  frit.  Blue,  with  purple  markings.  Unglazed  bottom. 
The  John  Huntington  Collection. 

119  FRAGMENTS. 

Glazed  frit.  Light  green.  The  capital  of  a  small  column. 
The  John  Huntington  Collection. 

120  DISC.    . 

Glazed  frit.  Green.  Stamped  on  both  sides  with  ornament. 
The  John  Huntington  Collection. 

121  VASE. 

Glazed  frit.  Pomegranate-shaped;  green-blue. 
The  John  Huntington  Collection. 

122  VASE. 

Glass.  Milky  white;  black  ribbed  lip. 
XVIII  Dynasty. 
The  John  Huntington  Collection. 

123  BOTTLE. 

Glass.  Grey  ground.  Yellow  and  white  decoration. 
Glass  of  this  type  was  made  in  Egypt  from  1500  B.C.  un- 
til the  invention  of  glass  blowing  in  the  II  and  I  Cen- 
turies B.C. 

XVIII  Dynasty. 

The  John  Huntington  Collection. 

124  VASE. 

Glass.  In  shape  of  pilgrim  bottle.  Grey-blue  body  with 
yellow  bands:  black  and  white  Hp. 

XVIII  Dynasty. 

The  John  Huntington  Collection. 

217 


THE  CLEVELAND  MUSEUM 

125  PITCHER. 

Glass.  Blue. 

The  John  Huntington  Collection. 

126  MASK,  OR  HEAD  COVERING. 

Linen,  covered  with  composition  in  the  likeness  of  the 
deceased  man.  Stone  eyes  with  flint  pupils.  From  the 
mummy  in  Coffin  No.  89. 

The  John  Huntington  Collection. 

1 27  FRAGMENT  OF  WOOLEN  TAPESTRY. 

The  design  in  purple  of  three  small  animals  chasing  three 
birds  in  a  rectangle  has  been  completed  with  the  needle 
and  linen  thread. 

Coptic.  V-VI  Centuries  A.D. 

The  John  Huntington  Collection. 

128  FRAGMENT   OF   A   CIRCULAR   MEDALLION   OF 
WOOLEN  TAPESTRY. 

So  much  torn  and  patched  together  that  the  subject  is 
unintelligible.  A  haloed  figure  wrapped  in  grave  clothes  is 
all  that  can  be  certainly  made  out.  Perhaps  "A  Resurrec- 
tion." The  border  is  of  marked  "Sassanian"  character. 
Polychrome  on  dull  crimson  ground;  very  fine  weaving. 

Coptic.  VI-VII  Centuries  A.D. 

The  John  Huntington  Collection. 

129  FRAGMENT  OF  WOOLEN  TAPESTRY. 

Borders. 

Coptic.  VI-VII  Centuries  A.D. 
The  John  Huntington  Collection. 

130  FRAGMENT  OF  TAPESTRY. 

Red  ground,  black  border,  design  in  black,  roughly  sug- 
gesting a  human  mask.  Worn  threadbare. 

Coptic. 

The  John  Huntington  Collection. 

131  FRAGMENT  OF  TAPESTRY. 

Red  ground,  black  border  and  design  in  yellow  and  green, 
roughly  suggesting  a  stepped  pyramid,  four  times  re- 
peated. Mounted  on  linen. 

Coptic. 

The  John  Huntington  Collection. 

218 


ANCIENT  EGYPTIAN  ART 

132  FRAGMENT  OF  TAPESTRY. 

Design  in  circles,  showing  Sassanian  influence.  Interesting 
piece. 

Coptic. 

The  John  Huntington  Collection. 

133  FRAGMENT  OF  WOOLEN  TAPESTRY. 

Three  nude  human  figures  in  an  arch-shaped  space  sur- 
rounded by  conventional  ornament.  Crimson,  green  and 
white  on  a  dull  red  ground.  An  upper  border  has  been 
added  with  the  needle. 

Coptic.  VI-VII  Centuries  A.D. 

The  John  Huntington  Collection. 

134  FRAGMENT  OF  TAPESTRY. 

Coptic. 

The  John  Huntington  Collection. 

135  CIRCULAR  MEDALLION  OF  WOOLEN  TAPESTRY. 

Characteristic  conventional  pattern  in  white  on  crimson 
ground. 

Coptic.  VI-VII  Centuries  A.D. 

The  John  Huntington  Collection. 

136  FRAGMENT  OF  WOOLEN  GARMENT  WITH  A  TAP- 
ESTRY MEDALLION  INSERT. 

The  design,  in  purple  and  brown,  of  three  lions  passant 
has  been  completed  with  the  needle,  linen  thread  being 
used  as  well  as  wool. 

Coptic.  V-VI  Centuries  A.D. 

The  John  Huntington  Collection. 

137  FRAGMENT  OF  LINEN. 

With  woolen  Tapestry  slips.  Two  of  green,  with  red  lobed 
ornaments  between  which  is  a  row  of  small  birds,  in  white, 
black,  red,  blue  and  green. 

Coptic.  VI-VII  Centuries  A.D. 

The  John  Huntington  Collection. 

138  MEDALLION  OF  WOOLEN  TAPESTRY. 

A  figure  on  horseback  very  crudely  represented  in  white 
and  black-purple  on  a  crimson  ground.  Coarse  weaving. 

Coptic.  VI-VII  Centuries  A.D. 

The  John  Huntington  Collection. 

219 


THE  CLEVELAND  MUSEUM 

139  FRAGMENT  OF  A  LINEN  GARMENT. 

With  a  medallion  of  linen  tapestry.  The  design  shows 
probably  one  corner  of  the  completed  medallion,  con- 
taining a  figure  of  an  Eros  and  part  of  a  lion  passant 
among  vine  leaves.  All  in  dark  purple. 

Coptic.  V-VI  Centuries  A.D. 

The  John  Huntington  Collection. 

140  FRAGMENT  OF  WOOLEN  TAPESTRY. 

Design,  a  broad  and  narrow  band  of  black  between  which 
is  a  band  of  conventional  ornament.  The  field  seems  to  be 
covered  with  crude  animal  forms  in  black  outline.  Very 
finely  woven. 

Coptic.  V-VI  Centuries  A.D. 

The  John  Huntington  Collection. 

141  FRAGMENT  OF  WOOLEN  TAPESTRY. 

Square,  bordered  with  rinceaux  among  which  are  sport- 
ing animals.  In  the  centre  are  two  horsemen  chasing  lions. 

Coptic.  V-VI  Centuries  A.D. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

142  FRAGMENT  OF  WOOLEN  TAPESTRY. 

The  collar  of  a  garment.  Design  of  Erotes  playing  with 
jars  and  baskets.  Polychrome  on  a  dull  crimson  ground. 

Coptic.  VI-VII  Centuries  A.D. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

143  FRAGMENT  OF  WOOLEN  TAPESTRY. 

Strip  from  a  tunic.  Figures  and  animals.  Polychrome  on  a 
crimson  ground.  Crude  work. 

Coptic.  VI-VII  Centuries  A.D. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

144  FRAGMENT  OF  WOOLEN  TAPESTRY. 

Half  of  a  circle  bordered  with  palmettes.  Design  of  two 
haloed  horsemen  (perhaps  the  Dioscuri)  affrontes  on  each 
side  of  a  tree.  Sassanian  influence.  Polychrome  on  a  crim- 
son ground. 

Coptic. 

Gift  of  Mr.  and  Mrs.  J.  H.  Wade. 

220 


ANCIENT  EGYPTIAN  ART 

145  CARTONNAGE. 

In  the  Ptolemaic  period  the  inner  coffin  was  replaced  by  a 
cartonnage,  which  fitted  closely  over  the  mummy,  and 
was  laced  up  the  back. 

Ptolemaic  Period.  332-30  B.C. 

The  John  Huntington  Collection. 

146  LEATHER  OBJECTS  OF  UNKNOWN  USE. 

Dyed  red  leather,  in  which  are  inserted  pieces  of  white 
stamped  with  figures  and  hieroglyphics. 
The  John  Huntington  Collection. 

SCARABS 

are  figures  of  a  beetle,  Scarabaeus  Sacer,  whose  habit  in  burying  its 
eggs  led  the  ancient  Egyptians  to  adopt  it  as  a  symbol  of  resurrec- 
tion and  new  birth. 

The  scarab  was  used  for  three  purposes:  first,  funeral;  second, 
those  worn  for  ornament;  third,  for  historic  purposes.  These 
scarabs  were  carved  and  inscribed  for  the  record  of  memorable 
events.  This  last  class,  however,  appears  to  contain  but  four  known 
specimens,  so  need  not  detain  us. 

Those  for  funeral  purposes  measure  as  a  rule  from  one-half  to 
two  inches  in  length,  and  are  usually  made  of  faience  or  steatite, 
glazed,  or  of  semi-precious  stones,  and  in  the  Roman  period  of  glass 
also.  They  were  set  in  rings  on  the  hands  of  the  dead,  or  placed 
among  the  wrappings  of  the  mummy.  The  inscriptions  on  funeral 
scarabs  usually  consist  of  the  thirteenth  chapter  of  the  Book  of  the 
Dead.  Those  made  of  green  basalt  were  specially  made  to  be  laid 
on  the  breast  of  the  mummy  and  were  often  set  in  gold.  In  later 
times  blue  and  green  faience  was  used  for  this  class  of  scarab,  and 
they  were  inserted  in  a  pectoral  of  the  same  material.  There  are 
two  of  these  in  the  collection. 

Thousands  of  the  scarabs  were  made  for  the  wear  as  ornaments 
by  the  living.  They  differ  from  the  funeral  type  chiefly  in  the  de- 
vices and  inscriptions  engraved  on  them.  By  far  the  greater  number 
of  inscriptions  on  scarabs  consist  of  the  names  of  kings,  but  it  is 
well  known  that  for  some  unknown  reason  scarabs  with  certain 
kings'  names  were  worn  a  thousand  years  after  the  death  of  those 
monarchs. 

Very  little  is  known  about  the  localities  or  characteristics  of 
the  manufactories  of  scarabs,  and  hundreds  exist  which  can  neither 

221 


THE  CLEVELAND  MUSEUM 

be  read,  explained  nor  understood.  However,  the  demand  for  these 
interesting  antiques  has,  as  in  so  many  other  cases,  created  a  sup- 
ply, and  for  eighty  years  at  least  the  production  of  forgeries  has 
been  a  most  profitable  business.  But  then,  of  what  class  of  antiques 
is  this  not  true? 

PERSONAL  ORNAMENTS 

Innumerable  objects  for  the  adornment  of  the  person  have 
been  found  in  the  tombs.  Perhaps  the  greatest  number  of  these  con- 
sist of  necklaces  and  their  pendants,  made  of  beads  of  every  con- 
ceivable material — gold,  silver,  semi-precious  stones,  and,  by  far 
the  most  numerous,  beads  both  of  glass  and  glazed  frit  in  brilliant 
colors.  Ear-rings,  too,  were  much  worn.  A  pair  of  alabaster  stud- 
shaped  are  in  this  collection,  and  others  of  gold  and  stones.  Rings 
also  were  worn;  in  some  of  them  scarabs  were  mounted,  while  oth- 
ers bore  the  owner's  seal.  Seals,  unmounted  in  rings,  were  a  neces- 
sity, as  elsewhere  in  the  east.  Seven  of  these,  of  ivory  engraved  with 
pre-hieroglyphic  signs  are  ascribed  to  the  pre-Dynastic  period. 


WAX 

Of  great  artistic  merit  are  some  small  waxen  masks  modeled 
with  much  skill  and  a  fine  feeling  for  character.  One  or  two  of  them 
are  unmistakably  portraits.  Unfortunately  they  are  only  fragments. 
They  are  most  likely  of  the  same  nature  as  the  bronze  masks,  arms, 
legs,  feet,  etc.,  which  are  part  of  Funerary  statuettes — the  trunk 
being  of  another  material — or  may  have  been  the  original  models 
for  such  bronzes,  which  from  motives  of  sentiment  were  gilt  and 
preserved,  or  from  motives  of  economy  or  haste,  were  substituted 
for  the  more  costly  metal.  They  probably  date  from  the  XXI  and 
XXII  Dynasties. 

Seven  little  Ushabti-like  figures  are  those  of  four  "Sons  of 
Horus"  whose  heads  appear  on  Canopic  Jars,  q.v.,  as  protectors 
of  the  vital  organs.  In  the  XXI  and  XXII  Dynasties  these  figures 
were  either  placed  in  the  coffin  or  among  the  wrappings.  There 
seems  to  be  reason  for  believing  that  they  were  also  occasionally 
placed  inside  the  body  when  the  viscera  were  removed. 

A  delicately  modeled  little  duck  is  probably  the  mould  from 
which  a  bronze  casting  was  to  have  been  made. 

222 


ANCIENT  EGYPTIAN  ART 

AMULETS 

were  in  constant  use  from  the  earliest  pre-Dynastic  times,  were 
worn  by  the  living  and  buried  with  the  dead  in  enormous  numbers. 
In  early  times  they  were  made  of  semi-precious  stones,  as  well 
as  glazed  ware,  gold,  silver  and  steatite.  In  the  XVIII  and  XX  Dy- 
nasties, the  new  kingdom,  from  about  1600-1100  B.C.  they  were 
but  little  used,  but  the  greater  number  of  those  in  our  collections 
come  from  the  XXVI-XXX  or  Saite  Dynasties.  The  most  constant 
forms  were  figures  of  the  gods  and  their  sacred  animals,  or  the  sym- 
bols of  life,  strength,  etc.;  one  of  frequent  occurrence  is  the  Ut'at, 
or  sacred  eye  of  Ra  the  sun  god.  Examples  of  these  in  many 
materials  are  to  be  seen  in  the  Museum  collection.  The  figure  of 
the  sacred  Hawk  of  Ra,  holding  the  royal  signet  in  its  claws,  prob- 
ably an  amulet,  is  an  interesting  specimen  of  lead  work. 

FLINT 

Flint  was  worked  to  the  highest  perfection  in  the  prehistoric 
age,  and  continued  in  use  until  Roman  times.  The  flints  of  the  ear- 
liest period  excel  those  of  all  other  countries  in  the  regularity  of  the 
flaking,  the  minute  serration  of  the  edges  and  the  thinness  of  the 
implement;  to-day  the  methods  and  skill  required  to  produce  such 
results  are  beyond  our  comprehension.  As  with  the  stone  vases, 
the  workmanship  of  the  dynastic  days  is  far  inferior  to  that  of  the 
prehistoric  knapper.  Strictly  speaking,  the  material  is  chert  from 
beds  of  Eocene  limestone.  This  is  a  harder  substance  than  the  flint 
which  is  found  in  chalk. 

147  KNIFE,  OR  SPEAR-HEAD. 

FHnt. 

Prehistoric. 

The  John  Huntington  Collection. 

148  IMPLEMENT. 

Flint.  Shaped  like  an  arrow-head. 
Prehistoric. 
The  John  Huntington  Collection. 

149  IMPLEMENT. 

Flint.  Shaped  like  an  arrow-head. 
Prehistoric. 
The  John  Huntington  Collection. 

223 


THE  CLEVELAND  MUSEUM 

150  IMPLEMENT. 

Flint.  Shaped  like  an  arrow-head. 
The  John  Huntington  Collection. 

151  AXE. 

Flint.  Broken. 
From  Harageh. 
Gift  of  the  British  School  of  Archaeology  in  Egypt. 

152  KNIVES. 
and     Flint. 

153  From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

154  ARROW  HEADS. 

Bronze.  Of  various  periods. 
Egyptian. 
The  John  Huntington  Collection. 

155  PAIR  OF  FEET  FROM  A  STATUETTE. 

Bronze. 
The  John  Huntington  Collection. 

156  SPHINX  WITH  HAWK  OF  RA  BETWEEN  FORE- 
PAWS. 

The  John  Huntington  Collection. 

157  RECUMBENT  COW. 

Bronze. 
The  John  Huntington  Collection. 

158  DAGGER. 

Bronze.  Handle  inlaid  with  wood. 
Egyptian. 
The  John  Huntington  Collection. 

159  GOLD  TONGUE  PLATE. 

From  a  mummy. 

Excavated  at  Harageh.  Roman  Period. 
Gift  of  the  British  School  of  Archaeology  in  Egypt. 

224 


ANCIENT  EGYPTIAN  ART 

1 60  HEAD  OF  A  HAWK. 

Wood.  Traces  of  red  and  white  paint.  Part  of  a  statuette. 
Egyptian. 
The  John  Huntington  Collection. 

161  HEAD  OF  A  LION. 

Wood.  Traces  of  color. 
Egyptian. 
The  John  Huntington  Collection. 

162  STONE  EYES. 

Pupils  of  black  flint. 

From  Harageh.  XII  Dynasty. 

Gift  of  the  British  School  of  Archaeology  in  Egypt. 

163  VOTIVE  CAT. 

Bronze.  Sacred  to  the  god  Pasht. 
Lent  by  Mr.  Dikran  G.  Kelekian. 

164  BUST  OF  A  KING. 

Quartz. 

Egyptian.  XVIII  Dynasty. 
Lent  by  Sig.  A.  Canessa. 


225 


COURT  OF  TAPESTRIES  AND  ARMOR 


EIGHT  TAPESTRIES 

SUBJECT:  THE  STORY  OF  DIDO  AND  .ENEAS 

Gift  of  Mrs.  Dudley  Peter  Allen 

THE  pedigree  of  these  eight  tapestries  is  unusually  clear  and 
well  authenticated.  Until  they  passed  into  the  hands  of  Mr. 
Charles  M.  Ffoulke  of  Washington,  D.  C,  they  had  remained 
since  the  day  they  were  made  in  the  possession  of  the  Barberini 
family  in  Rome,  in  the  very  building  in  which  they  were  woven  in 
the  XVII  Century.  They  were  purchased  from  Mr.  Ffoulke  by 
Mrs.  Dudley  P.  Allen  in  191 5,  for  presentation  to  this  Museum,  in 
memory  of  Dr.  Dudley  Peter  Allen. 

Cardinal  Francesco  Barberini,  Papal  legate  to  the  court  of 
France  in  1625,  was  so  deeply  impressed  by  the  decorative  value 
of  the  French  tapestries  that  in  1630  he  founded  an  atelier  for  the 
production  of  these  works  of  art  in  the  Barberini  palace  in  his  native 
city.  Giovanni  Francesco  Romanelli  was  appointed  designer  of 
cartoons,  and  Jacques  de  la  Riviere  and  M.  Wauters,  chefs  d'atelier 
or  master  weavers.  The  former  would  seem  from  his  name  to  be  a 
Frenchman,  although  he  may  have  been  a  Fleming.  The  latter  was 
unquestionably  a  native  of  Flanders  and  was  probably  a  scion  of 
the  family  of  the  same  name  who  had  founded  a  factory  of  tapes- 
tries in  Siena  in  1438.  The  third  tapestry  of  the  series  in  the  Mu- 
seum of  Art  is  signed  J.  F.  Romanellus,  and  seven  of  them  M. 
Wavters  or  Wovters,  and  in  one  case  M.  W.  There  is  therefore  no 
doubt  as  to  their  authorship.  A  further  piece  of  evidence  may  be 
found  in  an  inventory  of  the  tapestries  owned  on  October  25,  1695, 
by  Cardinal  Carlo  Barberini,  Barberini  MSS  XLVIII  pp.  72-77 
Vol.  141,  still  preserved  in  the  Barberini  Library:  "Series  woven 
in  silk  and  wool  representing  the  history  of  Dido  and  .Eneas,  de- 
signed by  Romanellus — eight  tapestries." 

Giovanni  Francesco  Romanelli  was  born  at  Viterbo  in  16 10  or 
16 1 2.  He  was  a  pupil  of  Domenichino  and  Pietro  da  Cortona  in 
Rome.  A  protege  of  the  Barberini  family,  he  painted  frescoes  in  the 
Vatican  for  Pope  Urban  VIII,  of  that  family.  After  the  foundation 
of  the  atelier  in  the  Barberini  palace,  he  accompanied  the  Cardinal 
to  France  in  1648  where  he  painted  some  frescoes  for  Cardinal 

227 


THE  CLEVELAND  MUSEUM 

Mazarin.  He  returned  to  Italy  in  1651  but  was  back  again  in  Paris 
in  1659,  where  he  painted  frescoes  in  the  lower  portion  of  the  Louvre 
for  Louis  XIV,  also  portraits  of  the  King  himself  and  of  the  Queen 
Mother.  He  died  in  his  native  city  of  Viterbo  in  1662. 

It  would  seem  that  there  is  a  duplicate  set  of  these  eight  tapes- 
tries in  the  Imperial  Austrian  collection:  George  L.  Hunter,  Tapes- 
tries, pp.  305  and  306. 

The  story  recorded  in  them  is  to  be  found  in  the  JEneid  of 
Virgil,  and  may  be  briefly  retold. 

^neas,  who  was  said  to  be  the  son  of  Venus  by  the  Trojan 
Anchises,  set  sail  for  Italy  with  what  perhaps  was  a  numerous  fleet, 
since  after  it  had  been  scattered  by  a  great  storm,  seven  of  his  ves- 
sels were  wrecked  on  the  coast  of  Africa  near  Carthage,  the  city 
founded  by  Dido,  a  daughter  of  Agenor,  King  of  Tyre.  Dido, 
warned  in  a  dream  that  her  brother  intended  to  destroy  her  in 
order  to  obtain  her  treasures,  fled  from  Tyre  to  Africa.  There  she 
purchased  from  the  King  of  Lybia  as  much  land  as  a  bull's  hide 
would  encompass.  Cutting  the  hide  into  strips  she  enclosed  with  it 
enough  ground  on  which  to  found  the  city  of  Carthage. 

The  First  Tapestry.  The  shipwrecked  /Eneas,  with  his  friend, 
the  faithful  Achates,  is  confronted  by  a  vision  of  his  mother  Venus 
disguised  as  a  nymph  of  Diana,  with  bow  and  quiver.  She  tells  her 
son  where  he  is,  and  the  story  of  Dido,  points  the  way  to  the  city 
and  tells  him,  who  does  not  recognize  her,  that  he  will  find  his  son 
and  friends  and  ships  there.  This  advice  he  follows,  declares  himself 
to  the  Queen,  and  begs  her  protection,  which  she  grants.  He  sends 
Achates  to  the  ships  to  bring  his  son  Ascanius  to  Carthage  and  with 
him  Helen's  veil,  the  sceptre  and  jewels  of  Ilione,  the  daughter  of 
Priam,  and  other  gifts  he  means  to  present  to  the  Queen.  She  mean- 
while prepares  a  great  feast  in  honour  of  her  Trojan  guests.  This 
we  see  in 

The  Second  Tapestry,  where  JEneas  offers  these  gifts  to  Dido 
by  the  hand,  as  he  thinks,  of  his  son  Ascanius.  But  Venus  has 
caused  Cupid  to  take  on  the  shape  of  the  Trojan  prince,  and  seize 
the  occasion  to  entrap  the  hearts  of  the  Queen  and  her  guest.  In 
the  background  the  preparations  for  the  banquet  are  in  progress. 

Dido,  finding  herself  in  love  with  ^neas,  and  loth  to  be  faith- 
less to  the  memory  of  her  first  husband  consults  the  oracles  as  to 
the  course  she  should  pursue. 

The  Third  Tapestry  depicts  her  sacrifice  to  Juno,  goddess  of 
marriage  and  tutelary  deity  of  Carthage,  with  this  intent. 

228 


COURT  OF  TAPESTRIES  AND  ARMOR 

The  Fourth  Tapestry.  In  this  the  Queen  consults  the  Trojan 
prince  concerning  the  building  of  her  city.  In 

The  Fifth  Tapestry  the  story  is  again  resumed.  Overtaken  by 
a  sudden  storm  while  hunting,  Dido  and  ^neas  seek  shelter  in  a 
cave.  Cupid  and  Hymen  pursue  them  through  the  air,  as  if  to 
symbolize  the  culmination  of  the  drama. 

When,  in  response  to  Venus'  prayers,  Jove  calmed  the  tempest 
which  shipwrecked  her  son,  she  had  promised  the  Father  of  Gods 
that  iEneas  should  dally  no  longer  at  the  court  of  Dido  than 
would  enable  him  to  refit  his  shattered  fleet  and  resume  his  voyage 
to  Italy,  where  he  was  destined  to  found  the  city  of  Rome.  But 
JEnesLS  was  now  in  love,  and  oblivious  of  all  else,  so  Jupiter  at 
length  wearying  of  his  delay  sent  Mercury,  his  messenger,  to  warn 
him  that  he  must  at  once  remember  his  duty. 

The  Sixth  Tapestry  illustrates  this  episode;  the  leisurely 
manner  of  life  led  by  the  Trojans  at  the  Carthaginian  court  is  sug- 
gested by  the  figures  of  Achates  and  a  lady  who  lean  against  a 
balustrade  in  the  background  with  an  air  of  the  most  indolent 
tranquility. 

The  Seventh  Tapestry.  The  parting  of  Dido  and^neas,  pic- 
tures the  fate-driven  hero  and  the  distracted  Queen  as  he  explains 
to  her  that  Jove  may  not  be  disobeyed  and  that  he  must  begone. 

The  Eighth  Tapestry  shows  the  last  scene  of  all.  The  Queen 
commanded  a  pyre  to  be  built  in  the  court  of  the  palace,  that  she 
might  burn  on  it  the  armor  of  the  faithless  Trojan  and  so  efface 
him  forever  from  her  memory.  This  done,  she  flung  herself  upon 
it  and  buried  his  sword  in  her  heart.  According  to  the  belief  of  the 
ancients  the  suicide  could  not  depart  and  be  at  rest  unless  Proser- 
pine, the  goddess  of  the  underworld,  severed  a  lock  of  hair  from  his 
head.  As  Dido  lies  in  torment,  Juno  in  pity  sends  Iris  to  perform 
this  rite  for  her,  while  her  sister  and  attendants  bewail  her  untime- 
ly doom.  Through  an  archway  we  see  the  fleet  of  JEnesLs  putting 
out  to  sea. 

I  INTERVIEW  BETWEEN  VENUS  AND  .ENEAS. 
Unsigned. 

Height,  13  feet,  6  inches;  width,  10  feet,  8  inches. 
II  CUPID  IN  THE  GUISE  OF  ASCANIUS  PRESENTING 

THE  GIFTS  OF  .ENEAS  TO  DIDO. 
M 
Signed  [Wovters.] 

Height,  13  feet,  9  inches;  width,  20  feet,  11  inches. 

22g 


THE  CLEVELAND  MUSEUM 

III  DIDO  SACRIFICING  TO  JUNO. 

Signed  [M.  Wavters].  This  tapestry  also  bears  the  signa- 
ture of  J.  F.  Romanellus,  the  artist  who  painted  the  car- 
toons for  the  whole  series. 
Height,  13  feet,  7  inches;  width,  15  feet,  i  inch. 

IV  DIDO  SHOWING  ^NEAS  THE   PLANS  FOR  THE 
FORTIFICATIONS  OF  CARTHAGE. 

Signed  [M.  W.j 
Height,  13  feet,  5  inches;  width,  18  feet,  8  inches. 

V  DIDO  AND  ^NEAS,  PURSUED    BY  CUPID    AND 
HYMEN,  SEEKING  SHELTER  FROM  THE  STORM. 

Signed  [M.  Wavters.] 

Height,  13  feet,  8  inches;  width,  13  feet,  9  inches. 

VI  MERCURY  NOTIFYING  .ENEAS   THAT  JUPITER 
COMMANDS  HIM  TO  LEAVE  CARTHAGE. 

Signed  [M.  Wavters.] 

Height,  13  feet,  3  inches;  width,  11  feet,  o  inches. 

VII  PARTING  OF  DIDO  AND  ^NEAS. 

Signed  [M.  Wavters.] 

Height,  13  feet,  3  inches;  width,  13  feet,  o  inches. 

VIII  DEATH  OF  DIDO. 

Signed  [M.  Wavters.] 

Height,  13  feet,  5  inches;  width,  15  feet,  4  inches. 


230 


♦  •  •       •      •     -    ' 


COURT  OF  TAPESTRIES  AND  ARMOR 

ARMS  AND  ARMOR 
Gift  of  Mr.  and  Mrs.  John  L.  Severance. 

If  we  would  seek  the  most  beautiful  examples  of  workmanship 
in  hard  metal  we  would  unquestionably  find  them  in  arms  and 
armor,  notably  those  of  Europe,  of  the  Middle  Ages  and  of  the 
Renaissance.  And  we  may  long  stand  in  admiration  before  cases  in 
which  are  preserved  princely  helmets,  richly  embossed  breastplates, 
fretted  and  chiselled  sword-hilts,  gun-barrels  decorated  with  per- 
sonages and  traceries,  and  daggers  whose  blades  and  hilts  are  mar- 
vels in  execution.  We  recall,  too,  that  the  ancient  armorer  developed 
his  art  under  very  favorable  conditions.  On  every  hand  he  was 
recognized  as  an  artist,  and  he  awaited  fame  and  fortune  as  confi- 
dently in  the  narrow  street  of  an  obscure  town  in  Spain  or  Germany, 
as  in  world-famous  Milan.  No  matter  where  his  career  began  he  had 
ever  the  chance  to  become  a  companion  of  kings  and  to  live,  without 
care  and  without  thought  of  time,  only  to  produce  great  works. 

So  it  came  about  that  the  armorer  in  those  days  expressed  his 
ideas  in  steel  very  much  in  the  way  in  which  his  fellow  artists 
wrought  with  their  more  easily  handled  pigments,  or  marble,  or 
bronze  or  clay.  But  his  was  a  constant  struggle  with  the  difficult 
technical  processes  of  his  medium;  and  while  a  rival  artist  could 
produce  a  picture  in  a  day,  a  week  or  a  month,  the  armorer  might 
spend  a  year  in  executing  a  single  piece.  Thus  at  his  life's  end  a 
painter  might  count  his  works  by  the  hundreds,  but  a  great  armorer 
could  reckon  his  only  by  the  scores. 

It  is  not  surprising,  therefore,  that  good  examples  of  arms  and 
armor  are  rare,  and  that  on  this  account,  partly,  the  art  of  their 
makers  is  little  known  and  appreciated. 

The  average  visitor  to  the  average  museum  has  never  seen 
beautiful  armor,  and  if  he  has  met  with  poor  specimens  he  knows 
as  little  of  the  armorer's  art  as  he  would  have  known  of  painting 
or  sculpture  had  he  seen  but  poor  pictures  or  poor  statues.  Even 
abroad  he  would  gain  but  an  imperfect  knowledge  of  the  interest 
and  beauty  of  armor  should  he  not  visit  certain  national  collections 
— as  of  Vienna,  Madrid,  Paris,  Dresden,  Turin,  London  and  Petro- 
grad — for  these  preserve  the  treasures  of  royal  houses  and  include 
perhaps  as  much  as  eight-tenths  of  all  extant  pieces  of  excellent 
quality. 

Good  armor,  it  may  safely  be  stated,  was  not  common  even  in 
its  day,  for,  as  we  noted,  it  was  made  by  artists  of  especial  skill  and 

231 


THE  CLEVELAND  MUSEUM 

with  laborious  care;  few  people,  relatively,  could  then  afford  to  pur- 
chase it.  And  today,  after  the  lapse  of  centuries,  it  has  become  su- 
premely rare.  This  follows  naturally,  first,  from  the  perishable 
nature  of  the  material  of  which  it  was  made  and,  second,  from 
the  changes  in  style — that  is,  in  the  social  economy  which  affected 
the  use  of  arms.  In  the  first  respect  we  note  that  much  beautiful 
armor  literally  rusted  away.  Even  under  favorable  conditions  steel 
will  "corrupt",  and  if  it  does  not  receive  skilled  treatment  it  deter- 
iorates with  alarming  rapidity — its  surface  becomes  roughened,  its 
ornamentation  disappears,  and  in  a  few  years  it  becomes  unsightly. 
Armor,  if  in  bad  order,  soon  lost  its  place  of  honor  in  castle  or  manor, 
and  was  stored  with  other  neglected  things.  Its  later  fate  was 
only  too  often  to  be  broken  up  for  the  mere  metal  which  it  repre- 
sented. Under  these  conditions  a  large  number  of  the  beautiful  arms 
of  the  Middle  Ages  and  of  the  Renaissance  disappeared.  This,  in 
fact,  was  the  lot  of  nearly  every  piece  of  armor  dating  earlier  than 
the  year  1400.  In  later  times  we  read  of  scores  of  suits  of  armor 
being  forged  into  iron  bars  to  be  used  in  making  a  fence  (Munich), 
of  helmets  being  sold  by  weight  to  be  forged  into  horse  shoes,  of  a 
splendid  shield  being  defaced  to  recover  the  small  amount  of  gold 
with  which  its  surface  was  enriched.  In  the  second  place  social 
changes  have  played  an  important  part  in  destroying  beautiful 
armor.  Improvements  in  the  use  of  gunpowder  caused  armor  to 
lose  its  value  as  a  means  of  defense,  while  guns  and  pistols  were 
supplanting  swords,  daggers  and  halberds.  For  why  should  the 
artist  spend  months  creating  a  headpiece  which  a  sudden  shot 
would  destroy,  or  a  prince  spend  a  fortune  upon  a  suit  of  armor 
which  he  might  wear  but  a  single  time.''  It  was  this  change  of  view- 
point which  soon  swept  away  the  art  of  the  armorer.  Thus  each  in- 
dividual and  each  community  sought  in  its  arms  utility  rather  than 
beauty.  Then,  too,  rapid  changes  in  the  kinds  of  equipment  gave  the 
finishing  stroke  to  their  makers*  art.  For  by  the  time  an  arm  could 
be  fashioned  richly  the  needed  style  might  already  have  changed. 
Hence  it  happened  that  year  by  year  the  memory  of  princely  arms 
faded  away.  And  the  view  became  widespread  that  the  work  of  the 
armorer  represented  a  low  branch  of  an  artist's  profession.  Few 
knew  of  the  beautiful  arms  of  early  times,  which  appeared  as  often 
in  the  court  as  in  the  camp,  when  halberds  were  fretted,  etched  and 
damaskeened  and  then  sword-hilts  were  sometimes  "a  prince's 
ransom" — when  the  greatest  artists  were  pleased  to  design  them — 
Diirer,  Michelangelo,  Raphael,  Lionardo,  Titian,   Gian  Bologna, 

232 


COURT  OF  TAPESTRIES  AND  ARMOR 

Guilio  Romano,  Holbein,  Peter  Vischer,  Donatello.  Even  a  few 
years  ago  the  Government  of  the  United  States  would  have  decided 
that  a  casque  designed  by  Cellini  and  executed  for  a  king  by  a 
Negroli,  was  only  "manufactured  hardware",  and  dutiable  accord- 
ingly. 

Today,  however,  the  appreciation  of  the  art  of  the  armorer  is 
far  more  just.  We  know  that  the  real  armorer  was  not  an  artisan 
but  an  artist  whose  creative  efforts  showed  a  skill  in  the  handling 
of  steel  which  can  rarely,  if  at  all,  be  paralleled  to-day.  For  what  is 
now  accomplished  by  labor-saving  devices  was  carried  on  during 
the  middle  ages  entirely  by  free  hand.  Thus,  in  those  times  a  helmet 
was  not  stamped  or  moulded  into  shape,  as  it  is  done  to-day  in  the 
great  munition  factories  in  France  or  England,  but  was  laboriously 
wrought  out  of  a  single  ingot  by  tens  of  thousands  of  skilled  blows, 
involving  the  delay  of  many  times  heating  or  annealing  the  metal. 
Thus  the  making  of  a  high-combed  helmet  required  the  work  of 
weeks,  or  even  of  more  than  a  year  if  ornamentation  in  relief  was 
to  be  added.  Then,  too,  we  know  that  these  processes  were  elabor- 
ately progressive;  the  armorer  added  to  his  work  one  feature  after 
another,  and  by  the  nature  of  his  material  he  could  not  make  a 
mistake  and  correct  it,  as  many  artists  might  have  done  when  work- 
ing with  another  medium;  a  mistake  in  his  case  was  usually  fatal — 
his  earlier  and  painful  labor  was  lost  and  he  had  need  to  begin  a 
new  piece.  It  may  safely  be  said  that  there  are  few  to-day  who  ap- 
preciate the  variety  of  technical  difficulties  which  the  maker  of 
ancient  armor  encountered.  This  we  may  best  understand  who 
have  seen  a  modern  copyist  try  to  reproduce  such  an  object  as 
the  bowl  of  a  helmet  and  find  how  fully  this  taxes  both  his  hand  and 
his  judgment.  A  few  hammer  strokes  may  weaken  the  work  at  a 
critical  place,  or  a  desired  contour  may  not  be  attained  if  at  the 
beginning  the  metal  was  not  spread  or  "pushed"  from  a  certain 
point.  Few  copyists  there  are  living  who  can  accomplish  a  real  ar- 
morer's task,  and  modern  work  has  in  it  a  hardness  of  line,  or  a 
lack  of  symmetry,  or  fails  to  keep  the  thickness  of  the  metal  at 
points  which  would  naturally  have  been  exposed.  The  armorer's 
great  art  is  to-day  nearly  extinct.  Its  implements  are  things  apart, 
and  we  have  well-nigh  lost  the  meaning  of  its  curiously  shaped 
hammers  and  "stakes"  which  their  early  owners  sometimes  covered 
with  elaborate  engraving  or  sculpturing. 

Until  recently  (1904,  when  the  de  Dino  collection  was  exhibited 
in  New  York)  beautiful  armor  and  arms  were  not  adequately  shown 

^33 


THE  CLEVELAND  MUSEUM 

in  any  American  Museum.  Nor  has  as  yet  the  armorer  come  into 
his  own  even  in  those  of  our  cities  where  the  making  and  using  of 
steel  has  attained  vast  proportions.  Thus  in  Pittsburg,  center  of 
the  greatest  steel  industry  of  our  country,  if  not  of  the  world,  there 
exists,  so  far  as  the  writer  knows,  not  a  single  example  of  the  ar- 
morer's skill — though  probably  no  where  else  in  the  world  would 
this  bring  greater  interest  to  metal  workers  of  every  degree,  develop 
their  interest  in  art,  and  ever  serve  as  a  fruitful  source  of  in- 
spiration! 

Cleveland,  on  the  other  hand,  is  now  able  to  exhibit  an  im- 
portant collection  of  these  objects,  thanks  to  the  munificent  bene- 
faction of  Mr.  and  Mrs.  John  L.  Severance.  By  this  timely  gift  its 
civic  museum,  at  its  inauguration,  is  enabled  to  exhibit  representa- 
tive objects  of  nearly  all  branches  of  the  study  of  European  arms 
and  armor.  This  series  comprises  over  five  hundred  objects,  includ- 
ing 15  suits  and  half-suits  of  armor,  ^3  helmets,  loi  detached  pieces, 
113  swords,  43  daggers,  77  pole  arms,  25  maces,  7  guns,  12  pistols, 
10  shields,  and  several  interesting  cannon.  Many  of  these  objects, 
it  may  confidently  be  stated,  would  take  a  high  rank  in  European 
national  collections.  They  were  selected  with  great  care  by  their 
former  owner,  Mr.  Frank  Gair  Macomber,  the  well-known  Boston 
amateur,  whose  collecting  activities  in  this  field  extended  over 
thirty  years,  and  whose  numerous  visits  to  England  and  the  conti- 
nent gave  rare  opportunities  to  be  present  at  sales  and  to  be  in 
close  touch  with  the  dealers  in  ancient  arms. 

The  greater  number  of  the  objects  of  the  present  collection  date 
from  the  Sixteenth  century,  which  is  usually  best  represented  in 
collections  of  European  armor.  Some  of  the  specimens,  however, 
date  from  earlier  times,  including  some  rare  pieces  of  chain  mail, 
several  excellent  swords  of  the  Fifteenth  century,  and  some  pieces 
of  "Gothic"  armor  of  similar  date.  There  are,  also,  numerous  arms 
of  the  Seventeenth  century  and  some  casques  and  breastplates  of 
the  same  period — when  armor  came  finally  to  be  discarded. 

In  the  matter  of  workmanship:  The  present  objects  represent 
some  of  the  most  distinguished  artist-armorers.  There  are  a  breast- 
plate and  a  headpiece  bearing  the  mark  of  proof  of  the  great  Milan- 
ese armorers  of  the  Fifteenth  century,  the  Missaglia  (Nos.  27  and  385). 
Among  other  Italian  armorers  we  may  mention  the  name  of  Hierony- 
mus  Spacinus,  of  Milan,  to  whom  we  attribute  the  beautiful  shield 
(No.  132)  closely  decorated  with  delicate  traceries  and  figures  in 
damaskeen  of  different  colors — easily  one  of  the  most  valuable 

234 


COURT  OF  TAPESTRIES  AND  ARMOR 

pieces  in  the  present  collection.  Still  another  famous  Italian  artist 
is  Lucio  Picinino,  who,  I  believe,  embossed  the  side-plate  of  a  horse- 
armor  (No.  534).  Of  the  large  "Pisan"  school  of  armorers,  dating 
roundly  1570,  there  are  numerous  specimens  whose  plates  are  boldly- 
etched  in  bands.  Among  their  work  we  here  include  three  bucklers 
and  two  suits  of  armor,  e.  g.  (Nos.  553  and  155).  German  artists, 
whose  fame  was  hardly  second  to  the  Italian,  are  represented  in 
numerous  pieces.  Elements  of  a  beautifully  fluted  armor,  dating 
about  1525,  are  attributed  to  one  of  the  Coloman  family.  A  shield 
(No.  507),  enriched  with  freely  etched  personages,  is  given  to 
Peter  von  Speyer,  or  to  one  of  his  pupils.  There  is  also  an  example 
of  the  etching  of  Peter  Flotner  (a  headpiece.  No.  142),  who  deco- 
rated many  beautiful  harnesses  about  1550.  The  best  example 
of  typical  German  workmanship,  however,  is  unquestionably  the 
horse-frontal  (No.  135),  enriched  with  etching  and  gilding,  which 
comes  from  the  atelier  of  Wolf  of  Landshut,  who  for  many  years 
(say  1 540-1 554)  executed  orders  for  the  Court  of  Spain.  Probably 
the  most  costly  single  piece  of  armor  now  exhibited  is  a  pear- 
shaped  helmet,  or  cabasset  (No.  396),  dating  from  the  end  of  the 
Sixteenth  century  or  the  beginning  of  the  Seventeenth,  which  is 
enriched  by  gilded  bands  on  which  appear  finely  sculptured  orna- 
ments. Its  execution  is  singularly  delicate  and  skilful,  and  must 
have  cost  infinite  pains.  That  it  was  intended  for  a  great  personage 
there  can  be  no  doubt.  We  do  not  know  its  maker,  though  one  may 
assign  it  provisionally  to  a  member  of  a  Munich  family  of  ciseleurs, 
Sadeler. 

Many  of  the  arms  of  the  present  collection  may  be  referred  to 
well-known  artists.  Especially  is  this  true  of  the  swords,  which 
during  the  Sixteenth  and  Seventeenth  centuries  were  prized  to  an 
extraordinary  degree — when  even  simple  blades  made  by  famous 
makers  were  reckoned  among  princely  gifts.  We  have  here  examples 
bearing  the  names  of  artists  of  Toledo,  who  were  then  world- 
renowned,  such  as  Thomaso  de  Aiala  (No.  230),  who  was  sword 
maker  to  Philip  II,  or  Julian  del  Rey,  who  signed  the  blade  of  a 
double-handed  sword  (No.  436)  dating  from  the  first  half  of  the 
Sixteenth  century.  We  have  also  examples  of  Italian  sword-smiths 
whose  fame  was  hardly  second  to  those  of  Spain,  such  as  the  Picinici 
of  Milan  (Nos.  82  and  224),  or  Andrea  of  Ferrara  (No.  21 1),  whose 
work  was  so  widely  and  successfully  copied  in  early  times  that  we 
are  not  quite  sure  today  which  blades  are  genuine  and  which  are 
false.  The  collection  includes,  too,  many  German  blades,  mainly 

235 


THE  CLEVELAND  MUSEUM 

from  Solingen,  which  for  nearly  a  thousand  years  has  maintained 
its  reputation  for  swordsmiths.  Among  other  names  we  here  men- 
tion only  three,  Peter  Wirsberg  (No.  92),  Johannes  Wundes  (No. 
102),  and  Clemens  Horn  (No.  440).  The  last  named  artist,  who  died 
about  1625,  produced  blades  with  elaborately  etched  and  gilded 
ornament,  and  the  present  example  of  his  workmanship  ranks  with 
the  best  of  them  all. 

The  list  of  artist-gunsmiths  of  the  collection  is  also  quite  an 
extended  one.  There  are  pistol  barrels  signed  by  Lazaro  Lazarini 
and  Lazarino  Cominazzo  (Nos.  260,  264,  269),  the  latter  (died 
about  1696)  the  most  famous  of  the  Brescian  arquebusiers,  whose 
"shop"  was  visited  by  the  greatest  personages  of  his  day,  and  from 
every  part  of  Europe.  We  should  mention  also  a  gun  with  an  elabor- 
ately chiselled  barrel'  attributed  to  the  Munich  ciseleur  Caspar 
Spat  (No.  412). 

Historical  objects  have  ever  a  peculiar  interest.  It  may  be 
noted,  therefore,  that  the  Macomber  collection  has  in  it  not  a  few 
historical  arms.  Thus,  looking  over  the  list,  we  find  a  crossbow  (No. 
277),  which  came  from  the  Gewehrkammer  of  Augustus  I  of  Sax- 
ony (i 553-1 586),  a  double-handed  sword  from  the  state  guard  of 
Duke  Julius  of  Brunswick  (No.  78),  the  sword  of  General  Fairfax 
(No.  211) — this  from  the  Londesborough  and  the  Sir  Cuthbert 
Sharpe  collections,  and  halberds  from  the  state  guards  of  a  number 
of  rulers,  e.  g.  Saxon,  Brunswick,  Salzburg.  Also  an  etched  and 
gilded  casque  of  the  state  guard  of  Christian  I  of  Saxony  (1585) 
(No.  146). 

It  may  be  noted,  finally,  that  many  of  our  objects  have  an  in- 
teresting pedigree — to  be  traced  through  the  hands  of  various 
earlier  and  well-known  collectors.  The  list  of  their  names  would 
include  Meyrick,  Londesborough,  Brett,  Zachille,  Hammer,  Osuna, 
Magniac,  Gurney,  Spitzer,  Bernal,  de  Cosson,  Seymour  Lucas, 
Hastings,  Spiller,  de  Belleval,  Fortuny,  Thewalt,  Gimbel,  Hefner- 
Alteneck,  Laking,  Nieuwerkirke,  and  Raoul  Richards. 

It  has  not  been  possible  to  represent  in  the  present  exhibition 
a  series  of  oriental  arms  and  armor  for  comparison  with  the  speci- 
mens of  the  Occident.  The  former  represent  practically  a  class  by 
themselves,  some  of  them  admirable  in  material  and  workmanship, 
but  most  of  them  developed  on  lines  which  are  quite  distinct  from 
those  of  the  west.  Thus  in  European  art  ^'laminated"  steel  rarely 
occurs  save  perhaps  in  some  of  the  early  blades  of  swords  and  dag- 
gers, and  in  certain  modern  arms.  In  the  east,  on  the  contrary,  the 

236 


COURT  OF  TAPESTRIES  AND  ARMOR 

art  of  building  up  the  metal  in  layers  of  various  colors  and  hardness 
to  constitute  what  is  known  as  "Damascus  steel"  was  carried  on 
actively  for  over  a  thousand  years,  not  for  blades  merely  but  for 
armor.  This  kind  of  steel,  we  may  note,  occupies  an  especial  niche 
in  the  east  and  one  can  to-day  hardly  understand  the  mental  atti- 
tude, almost  veneration,  of  an  Indian  or  of  a  Japanese  noble  to- 
wards a  mere  piece  of  metal,  e.  g.  an  ancient  sword  blade,  and  not 
an  historical  one  at  that.  In  this  arm  the  value  depends,  obviously, 
less  upon  the  beauty  of  its  "watered"  surface  than  upon  its  un- 
rivalled hardness  and  tenacity.  In  a  word,  the  east  retains  a 
mediaeval  appreciation  for  arms — and  armor — which  sometimes 
shows  itself  in  a  way  quite  disconcerting  to  the  European  collector 
— as  when  "natives"  outbid  his  western  prices  magnificently.  For 
this  reason  few  of  the  best  of  these  arms  seem  to  have  found  their 
way  into  western  collections. 

For  the  present  exhibition  we  are  able  to  show  (Japanese  Room) 
several  Japanese  sword  blades  which  may  fairly  be  taken  to  repre- 
sent the  supreme  type  of  oriental  workmanship  in  steel.  These  have 
been  loaned  by  Professor  Frederick  Mailing  Pedersen  of  the  Col- 
lege of  the  City  of  New  York. 

Bashford  Dean. 

LE  NAIN,  Mathieu. 

Portrait  of  the  Marquis  de  Cinq  Mars. 
See  Gallery  VI.  Painters.  French.  No  15. 

VAN  DYCK,  Sir  Anthony. 

Portrait  of  the  Earle  of  Kennoul. 

See  Gallery  VII.  Painters.  English.  No.  32. 

BUST  OF  DR.  DUDLEY  P.  ALLEN. 

Marble.  By  Edward  Geisleman. 
Gift  of  Mrs.  Dudley  P.  Allen. 


2137 


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GARDEN  COURT 


1  BUST. 

Marble.  Roman  General. 

Gift  of  Mrs.  Liberty  E.  Holden. 

2  BUST  OF  A  MAN. 

Marble. 

Italian.  XVI  Century. 

Gift  of  Mrs.  Liberty  E.  Holden. 

3  STATUE. 

Carved  wood,  with  traces  of  color. 
Flemish.  XVI  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

4  STATUETTE  GROUP. 

Elijah  and  the  Widow's  Cruse. 
Flemish.  XV  Century. 
Lent  by  M.  Henry  Daguerre. 

5  DESCENT  FROM  THE  CROSS. 

Carved  wood,  with  traces  of  color. 
French.  XIII  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

6  BUST. 

Wood  carved,  painted  and  gilt.  St.  Mark. 
Suabian.  About  1500- 15 20. 
The  John  Huntington  Collection. 

7  STATUE. 

Pietra  Serena.  Virgin  and  Child. 
ItaHan.  XVI  Century. 
Gift  of  Mrs.  Liberty  E.  Holden. 

8  ST.  GENEVIEVE  BINDING  IN  CHAINS  THE  SPIRIT 
OF  EVIL. 

Stone. 

School  of  Lorraine.  XIV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

239 


THE  CLEVELAND  MUSEUM 

9  DOCTOR  WITH  A  BOOK. 

Stone,  colored. 

French.  Late  XV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

loTWO  FRAGMENTS  OF  GOTHIC  STONE  CROCK- 
ETS. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

11  COLUMN. 

Stone.  From  Rheims  Cathedral. 
French.  XIII  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

12  COLUMN. 

Stone. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

13  COLUMN. 

Stone. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

14  COLUMN. 

Stone. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

15  COLUMN. 

Stone. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

16  VIRGIN  AND  CHILD  WITH  BASE. 

Stone. 

Late  XIII  or  early  XIV  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

17  ST.  PETER  MARTYR. 

Marble. 

Late  XV  Century. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

18  BALCONY. 

Wrought  iron.   With   two   waterspouts   and   two   stone 
brackets. 

Italian.  XVIII  Century. 

Purchased  from  the  Dudley  P.  Allen  fund. 

240 


GARDEN  COURT 

19  PAIR  OF  CANDLE  BRACKETS. 

Wrought  iron. 

Italian.  XVIII  Century. 

Purchased  from  the  Dudley  P.  Allen  fund. 

20  LION. 

Wrought  iron.  Gilt.  Probably  part  of  a  sign. 
XVII  Century. 
Purchased  from  the  Dudley  P.  Allen  fund. 

21  BALUSTRADE  OF  A  STAIRCASE. 

Italian.  XVIII  Century. 

Purchased  from  the  Dudley  P.  Allen  fund. 

22  STATUE. 

Saint  [?]  with  a  Book. 
German.  XVI  Century. 

Lent  by  M.  Henry  Daguerre. 

23  VIRGIN  AND  CHILD. 

Marble.  Colored  and  gilt. 
Spanish.  XVI  Century. 
Lent  by  Mrs.  Chauncey  J.  Blair. 

24  ST.  PETER  AS  POPE. 

Stone.  Colored. 
XV  Century. 
Lent  by  M.  Henry  Daguerre. 

25  DOORWAY. 

Stone.  From  the  Palazzo  Ducale  at  Urbino. 
Italian.  XVI  Century. 
The  John  Huntington  Collection. 

26  MARBLE  CAPITALS  AND  BASE. 

Gothic. 

Lent  by  Mr.  Dikran  G.  Kelekian. 

27  LANTERN. 

Wood.  Carved  and  gilt. 
Italian.  XVI  Century. 
The  John  Huntington  Collection. 

241 


THE  CLEVELAND  MUSEUM 

28  MEDALLION. 

Marble.  Sigismondo  Pandolfo  Malatesta.  1417-1495. 
This  and  the  three  following  are  from  a  stairway  in  the 
ruined  castle  of  the  Malatesta  at  Rimini. 

Ascribed  to  Sperandio  1425-1495. 

Lent  by  Sig.  A.  Canessa. 

29  MEDALLION. 

Marble.  La  Bella  Isotta  degU  Atti. 
Ascribed  to  Sperandio  1425-1495. 
Lent  by  Sig.  A.  Canessa. 

30  MEDALLION. 

Marble.  Lionello  d'Este. 

Ascribed  to  Sperandio  1425- 1495. 
Lent  by  Sig.  A.  Canessa. 

31  MEDALLION. 

Marble.  Beatrice  d'Este. 
Ascribed  to  Sperandio  1425-1495. 
Lent  by  Sig.  A.  Canessa. 

32  WELL-CURB. 

Stone.  From  Casa  Barozzi,  Venice. 
Probably  Syrian. 
Lent  by  Messrs.  P.  W.  French  and  Company. 

FOUR  COLUMNS. 

Granite  with  marble  capitals  and  bases.  From  the  Tor- 
Ionia  Palace,  Rome,  carry  the  loggia. 
Italian  Renaissance. 


In  the  Print  Room  on  the  Ground  Floor  will  be  found  a  selec- 
tion from  the  Collection  of  Textiles  and  Embroideries,  the  Gift  of 
Mr.  and  Mrs.  J.  H.  Wade,  which  will  be  changed  from  time  to 
time  during  the  duration  of  this  exhibition. 

In  the  Educational  Section  on  the  Ground  Floor  there  will  be 
an  Exhibition  of  Art  Work  done  in  the  Public  Schools  of  Cleveland, 
under  the  direction  of  Miss  Fliedner,  Supervisor  of  Drawing. 

In  the  Library  there  will  be  an  Exhibition  of  City  Planning  and 
Landscape  Gardening,  arranged  by  the  Local  Committee  for  the 
Conference  on  City  Planning  held  in  Cleveland. 

242 


ILLUSTRATIONS 


MARBLE  FRAGMENT  OF  SCULPTURE 

ROTUNDA.  CLASSIC  ART.  No.  4 


246 


TERRA  COTTA  FIGURINES 

ROTUNDA.  CLASSIC  ART.  Nos.  6-7-8-9 


247 


MARBLE  HEAD  OF  APHRODITE 

ROTUNDA.  CLASSIC  ART.  No.  12 


248 


MARBLE  CIPPUS  OR  BURIAL  URN 

ROTUNDA.  CLASSIC  ART.  No.  47 


249 


PORTRAIT  OF  MRS.  ABIGAIL  BLOOMFIELD  ROGERS.     J.  S.  COPLEY 

GALLERY  I.   COLONIAL  ART.  No.  izg 


250 


PORTRAIT  OF  MRS.  JOHN  GREENE.    J.  S.  COPLEY 

GALLERY  1.  COLONIAL  ART.  No.  127 


251 


PORTRAIT  OF  CAPTAIN  JEAN  T.  DAVID.     THOMAS  SULLY 

GALLERY  I.   COLONIAL  ART.  No.  156 


252 


PORTRAIT  OF  MRS.  MARY  SICARD  DAVID.     THOMAS  SULLY 

GALLERY  1.  COLONIAL  ART.  No.  Ijy 


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254 


PORTRAIT  OF  NATHANIEL  HURD.    J.  S.  COPLEY 

GALLERY  I.  COLONIAL  ART.  No.  iz8 


^55 


STATUE.     A  YOUNG  GIRL 
GALLERY  II.   GOTHIC  ART.  No.  3 


256 


STATUE.     ST.  SEBASTIAN 
GALLERY  II.   GOTHIC  ART.  No.  I 


257 


H   as 


258 


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STATUE.     VIRGIN  AND  CHILD 

GOTHIC  ART.   No.  i6.   IN  (JARUKN  COURT 


259 


iSo 


WOODEN  DOOR  AND  FRAME 

GALLERY  II.    GOTHIC  ART.   No.  41 


STATUES 
GALLERY  II.   GOTHIC  ART.  Nos.  29  TO  jy 


262 


STATUE.    VIRGIN  AND  CHILD 

GALLERY  II.   f.OTHIC  ART.  No.  24 


STATUE.     ST.  MARTIN 

(JALLKRY  II.   (;OTHIC  ART.    No.  4Z 


264 


STATUE  BY  GIOVANNI  DKLLA  ROBBIA 

C;ALLKRV  III.    RKNAISSANCK  ART.    No.  59 


265 


BAS  RELIEF  BY  ROSSELLINO 

GALLERY  III.    RENAISSANCE  ART.    No.  i; 
266 


BAS  RELIEF  BY  DELLA  ROBBIA 

GALLERY  III.   RENAISSANCE  ART.   No.  il 


267 


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268 


TABKRNACLi:.    MARBLH.    ITALIAN 

(;ALLKRY  III.    RKNAISSANCK  ART.    No.  S 


269 


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270 


LECTERN.  ITALIAN 
GALLERY  III.   RENAISSANCE  ART.   No.  zi 


271 


WROUGHT  IRON  BEDSTEAD.    ITALIAN 

GALLERY  111.    RENAISSANCE  ART.    No.  4 


272 


WROUGHT  IRON  BALCONY.    ITALIAN 
rk\ai^;anck  ar  r.  No.  is.  i\  (;ari)i;\  colri 


273 


WROUGHT  IRON  STAIR  RAIL.    ITALIAN 

RKNAISSANCK  ART.    No.  21.   IN  GARUKN  COURT 


274 


MADONNA  ADORING  THE  CHILD.    ALESSIO  BALDOVINETTI 
GALLERY  IV.  THE  HOLDEN  COLLECTION.   No.  z 


275 


VIRGIN  AND  CHILD.   FRANCESCO  BOTTICINI 
GALLERY  IV.   THE  HOLDEN  COLLECTION.   No.  6 


276 


MADONNA  AND  CHILD  WITH  THE  TEMPTATION  OF  EVE 
ITALIAN  SCHOOL.   LATE  XIV  CENTURY 
GALLERY  IV.  THE  HOLDEN  COLLECTION.   No.  l5 


277 


CO    Q 


278 


w  o 


279 


VIRGIN  AND  CHILD.  LIONARDO  DA  VINCI 

GALLERY  IV.   THE  HOLDEN  COLLECTION.   No.  44 


280 


PORTRAIT  OF  ELEANOR  OF  AUSTRIA.  JEAN  GOSSAERT  called  MABUSE 

GALLERY  V.   DUTCH  AND  SPANISH  PAINTINGS.   No.  12 


281 


PORTRAIT  OF  WILHELM  VAN  HEYTHUYSEN.     FRANS  HALS 

GALLERY  V.   DUTCH  AND  SPANISH  PAINTINGS.   No.  ^ 


282 


MAN  WITH  A  WINE  GLASS.    VELASQUEZ 

GALLERY  V.   DUTCH  AND  SPANISH  PAINTINGS.   No.  24 


283 


Q 


284 


285 


THE  TIRED  GLEANER.    JULES  ADOLPHE  BRETON 

GALLERY  VI.   FRENCH  PAINTINGS.   No.  5 
286 


THE  SEATED  SPINNER.    JEAN  FRANCOIS  MILLET 

GALLERY  VI.    FRENCH  PAINTINGS.   No.  I8 


287 


PORTRAIT  OF  SIR  WILLIAM  NAPIER.    SIR  HENRY  RAEBURN,  R.A. 

GALLERY  VII.   ENGLISH  PAINTINGS.   No.  21 


288 


PORTRAIT  OF  LADY  FERRERS.    THOMAS  GAINSBOROUGH,  R.A. 

GALLKRY  VII.   ENGLISH  PAINTINGS.   No.  5 


289 


PORTRAIT  OF  HIMSELF  BY  SIR  JOSHUA  REYNOLDS,  P.R.A. 

GALLERY  VII.    ENGLISH  PAINTINGS.   No.  25 


290 


PORTRAIT  OF  QUEEN  HENRIETTA  MARIA.    SIR  ANTHONY  VAN  DYCK 

GALLERY  VII.   ENGLISH  PAINTINGS.   No.  31 


291 


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292 


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293 


THREE  PAINTINGS  BY  WINSLOW  HOMER,  N.A. 
GALLERY  VIII.   AMERICAN  PAINTINGS.   Nos.  17,  16,  15 


THE  WHITE  GIRL.    JAMES  McNEILL  WHISTLER 

GALLERY  VIII.   AMERICAN  PAINTINGS.   No.  40 


295 


DEMON  OR  GUARDIAN 

OALLKRY  X.  THE  FREER  COLLECTION.   No.  15.   ROCK  CARVING.   WEI  DYNASTY 


296 


SEATED  BODHISATTVA.    T'ANG  DYNASTY 

GALLERY  X.   THE  FREER  COLLECTION.   No.  7 


297 


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298 


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299 


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300 


PAIR  OF  SCREENS.    LANDSCAPE.    TOSA  SCHOOL 

GALLERY  X.  THE  FREER  COLLECTION.   Nos.  10,  II 


301 


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303 


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305 


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306 


307 


308 


CASE  OF  PERSIAN  POTTERY 

GALLERY  XII.   ART  OF  THE  NEARER  EAST 


309 


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INDIAN  MOGUL  MINIATURE.    THE  EMPEROR  SHAH  JEHAN 
GALLEkV  XU.   ART  OF  THE  NEARER  EAST.   No.  74 


310 


PERSIAN  MINIATURE.    SHAH  TAHMASP  I 

GALLERY  XII.   ART  OF  THE  NEARER  EAST.   No.  69 


311 


312 


SILK  BROCADE.    PERSIAN.   XVI  CENTURY 

GALLERY  XII.   ART  OF  THE  NEARER  EAST.   No.  104 


3^3 


ORIENTAL  JEWELRY,  MOSTLY  INDIAN 

GALLERY  XII.  ART  OF  THE  NEARER  EAST 


314 


MARBLE  STATUE.    KWANYIN.    T'ANG  DYNASTY 

GALLERY  XIII.   CHINESE  ART.   No.  }2 


315 


MARBLE  STATUE  OF  THE  BUDDHA.    T'ANG  DYNASTY 
GALLERY  XIII.   CHINESE  ART.   No.  33 


316 


STONE  HEAD  OF  A  BODHISATTVA.    T'ANG  DYNASTY 

GALLERY  XIII.   CHINESE  ART.   No.  42 


317 


MARBLE.    LOTUS  THRONE.    T'ANG  DYNASTY 

GALLERY  XIII.   CHINESE  ART.   No.  117 


318 


BRONZE  TIGER-HEADED  MONSTER.   T'ANG  DYNASTY 

JADE  BOWL.    K'ANG  HSI 

GALLERY  XIII.    CHINESE  ART.    Nos.  I}2  and  1*7 


IRON  CLASPS  INLAID  WITH  GOLD  AND  SILVER.    T'ANG  DYNAS  VY 
GALLERY  XIII.   CHINESE  ART.   Nos.  137-143 


320 


IRON  BUCKLES  INLAID  WITH  GOLD  AND  SILVER 
MEROVINGIAN.    ABOUT  VI  CENTURY 

GALLERY  Xlll.   CHINESE  ART.   Nos.  144-149 


321 


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322 


3^3 


CASE  OF  POTTERY.    SUNG  AND  YUAN  DYNASTIES 

GALLERY  Xlll.   CHINESE  ART. 


!24 


TIBETAN  JEWELRY 

GALLERY  XIII.  CHINESE  ART.   Nos.  157,  158,  159,  160,  167,  168 


3^S 


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326 


SlAlli;.    KWANNON.    TEMPYO  PERIOD 

GALLERY  XIV.  JAPANESE  ART.   No.  I 


327 


STATUE.    YAKUSHI.    TOKUGAWA  PERIOD 

GALLERY  XIV.  JAPANESE  ART.   No.  7 


328 


HEAD  OF  A  BOSATSU.    ASCRIBED  TO  TEMPYO  PERIOD 

GALLERY  XIV.  JAPANESE  ART.  No.  l8 


329 


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330 


BRONZE  MIRROR.    FUJIWARA  PERIOD 

GALLERY  XIV.  JAPANESE  ART.  No.  24 


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33^ 


33^ 


STATUE.    AMIDA.    THE  BUDDHA.    TOKUGAWA  PERIOD 

JAPANESE  ART.    No.  27  IN  SPAULDING  GALLERY  (No.  XI) 


333 


GRANITE  HEAD  OF  A  ROYAL  PERSONAGE 
GALLERY  XV.  ANCIENT  EGYPTIAN  ART.  No.  l 


334 


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GRANITE  HEAD  OF  A  LION 

GALLERY  XV.   ANCIENT  EGYPTIAN  ART.   No.  44 


33S 


GRANITE  HEAD  OF  A  ROYAL  PERSONAGE 

GALLERY  XV.    ANCIENT   EGYPTIAN    ART.    No.  8z 


336 


WOODEN  FIGURE  OF  PTAH-SEKER-AUSAR 

GALLERY  XV.    ANCIENT   EGYPTIAN   ART.    No.  90 


337 


MASK  OF  A  MUMMY 

GALLERY  XV.   ANCIENT   EGYPTIAN   ART.    No.  Ii6 


338 


CASE  OF  VESSELS  AND  SCULPTURE  IN  HARD  STONES 

GALLERY   XV.   ANCIENT   KGYPTIAN   ART 


339 


CASE  OF  FUNERARY  OBJECTS  IN  WOOD,  BRONZE,   ETC. 

CALLKRYXV.   ANCIENT   EGYPTIAN  ART 


340 


CASE  OF  POTTERY.   PREDYNASTIC  TO  ROMAN  PERIODS 

GALLERY  XV.   ANCIENT   EGYPTIAN  ART 


341 


THE  DUDLEY  P.  ALLEN  TAPESTRIES  No,  i 


343 


THE  DUDLEY  P.  ALLEN  TAPESTRIES  No.  3 


344 


345 


THE  DUDLEY  P.  ALLEN  TAPESTRIES  No.  5 


THE  DUDLEY  P.  ALLEN  TAPESTRIES  No.  6 


347 


THE  DUDLEY  P.  ALLEN  TAPESTRIES  No.  7 

34^ 


THE  DUDLEY  P.  ALLEN  TAPESTRIES  No.  8 


349 


SUIT  OF  ARMOR  ABOUT  1480 

THE  SEVERANCE  COLLECTION  OF  ARMOR.    No.  466 


SUIT  OF  ARMOR  "MAXIMILIAN"  TYPE.    EARLY  XVI  CENTURY 
THE  SEVERANCE  COLLECTION  OF  ARMOR 


351 


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352 


A  FLINT  LOCK  PISTOL.    FRENCH.   ABOUT  1740 

A  MAIN-GAUCHE  DAGGER.     SPANISH  ABOUT  1625 

THE  SEVERANCE  COLLECTION  OF  ARMOR.    Nos.  z6l,  427 


3S3 


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354 


BREAST  PLATE.   LATE  XV  CENTURY 

THK  SEVERANCK  COLLECTION  OF  ARMOR.   No.  44<; 


35S 


ARMET.    ITALIAN.    LATE  XV  CENTURY 

THK  SEVKRANCH  COLLECTION  OF  ARMOR.    No.  552 


3S^^ 


CABASSET.    ITALIAN.    XVI  CENTURY 

THK  SEVERANCE  COLLECTION  OF   ARMOR.    No.  596 


357 


RONDACHE  BY  SFACCINI,  ABOUT  1550 

THE  SEVERANCE  COLLECTION  OF  ARMOR.    No.  IJ2 


358 


RONDACHE.    PROBABLY  BY  PETER  VON  SPEYER.    XVI  CENTURY 

THE  SEVERANCE  COLLECTION  OF  ARMOR.    No.  507 


3S9 


DEMI  CHANFRON.    AUGSBURG  1565 
PROBABLY  MADE  FOR  PHILIP  II  OF  SPAIN  BY  WOLF  OF  LANDSHUT 

THK  SEVKRANCK  COLLECTION  OF  ARMOR.    No.  155 


360 


I 


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